A timer and a still life

This "count down/up" timer is useful for two things. First, the "count down" function is great for timing poses with a model. You set the time (e.g. 1 minute, 5 minutes), press Start and it rings when time is up so you don't have to be watching the clock. Second, the "count up" function is great for keeping track of my own time at work. It's especially useful for me because I'm incapable of keeping track of painting time in any other way. This method works and I use it every day in the studio. All I need to do is press the Start button when I go in and note the elapsed time when I wind up for the day. I'd like to have another one beside the computer.

The little oil painting below (7 x 5") is on eBay for the next 7 days: view it on eBay

Mary Adam, Still Life with Plumbago, oil on canvas board, 7 x 5"

Mailed out

The first newsletter was mailed out this morning to about 150 recipients. Just to say, it doesn't duplicate what's in the blog and I will be continuing with the blog as usual.

Subscribe to New Work newsletter

Newsletter

I'm starting a newsletter which is intended mainly for new work instead of posting new work here. Initially it will go to email subscribers to my blog, and to many existing email Contacts. If we have not been in touch for a long while I may instead send you an email with an invitation to subscribe (some have already received this). Clicking the link will take you to the subscription form where you can enter your email address. This is to ensure that people don't get unwanted stuff in their mailboxes.

In spite of these precautions, because it's a mass mailing the Newsletter may very well end up in your spam folder or under the new "Promotion" tab in some email providers. Considering how fabulously interesting the newsletter is, this seems unfair, but that's how it works these days. So if you don't receive it and you thought you should, check your spam and/or Promotions tab.

The frequency will be maximum once a month; but it may be less, possibly every two months, certainly not less than quarterly.

I'm aiming to make it useful for people who are interested in art, whether making it or enjoying it or collecting it; something concrete to make it worth your time. The first issue is written and almost ready to send out. If you would like to be added to the mailing list, please click here.

No name

Mary Adam, Monoprint of an unidentified plant

An unidentified little plant which grows abundantly in my only flowerbed. It's no more than two to three inches high and very delicate though it covers large areas. It must have flowers but I can't see them, maybe it needs a microscope. The roots are superficial in the soil such that it comes out in handfuls, the easiest weeding ever. Without a name that's all I can say about it for now. When one knows the name, I've found, vistas open up ... Google it and it turns out there's tons of information available. Which family it belongs to, its history, where and how it grows, whether it has medicinal value and so on. It's not comfortable not knowing the name. I don't know enough about it to go to the Flora either, one needs flowers for that.

But I can think about it in other ways. It has many tiny rounded green leaves ... the green indicating that they contain chlorophyll which converts carbon dioxide and water into oxygen and sugar. Whenever I think about this, it blows my mind, it really does. How did it come about? The equation looks simple but it's an incredibly complex process.

Photosynthesis equation, image from Wikipedia

The chlorophyll is contained in microscopic structures called chloroplasts, and the chloroplasts in turn contain sub-structures called thylakoids where the complex reactions of photosynthesis take place. Worlds within worlds indeed, my mind is perpetually boggled. Is there something to be said for not knowing a name after all?

Electron micrograph of a chloroplast in an Anemone leaf, image from Wikipedia

Diagram of a thylakoid membrane from Wikipedia

Sean Scully's monumental moments

Sean Scully has studios in Germany, New York, London and Barcelona, at least. After an intense period of painting he feels nervous, strung out and emptied. He goes walking in the mountains to replenish. (1)

“Art is a little like the donkey and the carrot and the artist never reaches the carrot .. haha .. you never get to nirvana ... it’s not possible because your concept, your ambition, is always greater than what you’re able to achieve ...

  [...] It should be something that is happening all at once ... that’s inhabiting you and that you are doing ... and you have one way or another managed to get yourself into that space ... and there’s an angel on your shoulder. That’s how you should make art. If you’re plotting art ... and trying to make something to get something, you’re not in a state of creative innocence – you’re not making art, it’s something else.” (2).

These are snippets from two terrific videos I watched over the last few days. The first is a conversation in 2004 in front of a studio audience at the Tate, while the second was made in 2011 and includes some footage of Scully at work as well as glimpses of the spectacular landscape around his studio in Germany. 

He is evidently generous with his time as there are numerous published interviews to be found around the internet as well. And he rarely repeats himself, which means there’s always something new to discover. I get the feeling he doesn't think much of artists who delegate the actual painting:  

“I’m not a pimp artist. I make all my work myself.” (1) 

He mentions that when many oil paintings are drying together, the air can become toxic and he needs to leave for a while.

More quotes:

“We like to think we are what we are. But we are tremendously defined by context. We’re in a relationship with the world.” (1)

 “You learn a lot when someone writes on your work” (referring to critical reviews). 

 “A painting is a compression where everything is made, thought, felt at the same time – a monumental moment.” (1)

And to wind up, an authentic statement of his aim: “The enterprise [painting] has a sense of the absurd about it. I don’t think about risk. I’m trying to make something that moves me even if it’s like something else already made.” (c. 45 minutes in the Tate video).

The links:

(1) The Tate video: Sean Scully conversation with Tim Marlow 

(2) The Guardian video: Sean Scully in his studio in Germany

One of the Wall of Light paintings

Sean Scully's website with images

Some recent work

For the past year or so I've been working on several projects at once. I think of the projects as lines of enquiry, or planks, and they're all related though seemingly very different visually. Basically I'm exploring the mysterious world of plants through different media -- drawing, painting, printmaking, and collage. Here is some of the work:

Mary Adam, Apple with leaves, acrylic on stretched canvas, 8 x 8"

Mary Adam, Blue flowers, acrylic on stretched canvas, 8 x 8"

Mary Adam, Mind and body, collage




Mary Adam, Heart of the matter, coloured pencil 




Mary Adam, Plant Life 1, mixed printmaking techniques

The second-to-last one is based on a drawing of an Acalypha species from my series of wild flower drawings done in the 80s. A previous post on the series might help to explain some of the things going on here ...

To post or not to post?

One of the things that limits how often I post on this blog is whether posting my new work constitutes "showing" the work. "Showing" usually means showing in an exhibition, that's how people generally interpret it. Does showing on a blog count the same as showing in a bricks and mortar gallery? And does it matter, you may ask? It turns out it does matter, because juried group shows may require the work that is submitted to be "not previously shown." So if showing on a blog counts as "previously shown", that work would be ruled out of certain juried shows, depending on the rules of the particular organisation. Recently when I asked the organisers of an upcoming exhibition about it, the answer was a definite yes: posting in a blog or website counts as "previously shown".

After thinking about it for a while, I've decided to post new work as I go along, especially the smaller pieces. Otherwise it has to be kept under wraps for too long a time. If an exhibition prohibits works shown on blogs or websites, I will refrain from submitting that work. As it is, my studio is full of new work done over the past 18 months that is waiting to be seen, somewhere.

Taking a position on this became more pressing for me recently because of listing work on eBay. There are other sites too which I've been looking at, each with its own strengths -- DailyPaintworks is one (I'm not on there yet, will be soon), and I've had a page on Saatchi Online for a while and need to build it up. All of them need to be fed regularly. Therefore I think it's best for me not to be worrying about possible rules and restrictions (which could change at any time), and to feel free to post work here and on other sites. It signifies a slight change in direction which I hope will be interesting for readers of the blog.

Mary Adam, Anthuriums, oil on canvas, 20 x 16" (?)

This one was a case in point, it was submitted to the Art Society of Trinidad & Tobago for the May "Belle Eau" exhibition, and will be touring to Point Lisas in (I think) July. I'm not certain if it's 16 x 20" or 18 x 24" and am unable to measure it right now.

New feed reader

Google Reader will be closing down soon and after looking through the alternatives I decided to try Feedly. It integrates perfectly with Google Reader such that the two of them are now running side by side in sync. I like Feedly, in fact am beginning to prefer it. It gives you a straightforward list of unread posts and also allows you to keep a post unread after reading it and to save a post for re-reading later. It may be that Google Reader had these functions too, if so I didn't find them. I also find the absence of scroll arrows in Google Reader (and other Google pages) highly annoying -- I wonder if this is just in Chrome or is it the same in other browsers? The only thing I haven't figured out is how to delete a feed. I have way too many and need to prune the list.

Mary Adam, A sketchbook page

What is drawing?

Today I went looking for a definition of drawing on the internet. I knew deep down that it was a futile task: there is no satisfactory definition of drawing, and no two people have the same idea of what it is. I have my own idea but will save it for later.

Here are some of the definitions I found:

Wikipedia: "Drawing is a form of visual art that makes use of any number of drawing instruments to mark a two-dimensional medium."
[Too vague for me and needs a definition of "drawing instrument"]

About.com, Marion Boddy-Evans: "In a narrow definition of the term, a drawing is an artwork created from lines or areas of tone created with a dry medium on a piece of paper. For example, graphite pencil, charcoal, colored pencil, pastel, or silverpoint. In a broader definition of the term, a drawing is a two-dimensional artwork created from lines or tone that is dominated by a dry medium but can include wet mediums such as ink, and washes of paint."
[The definition implies that drawing is a function of the medium used which I don't agree with but that's just me]

Merriam-Webster: the art or technique of representing an object or outlining a figure, plan, or sketch by means of lines
[Drawing is not only a linear medium, tone is an important part of it as in the drawing by Piranesi below]

Piranesi, Helmets, dagger, quivers, poker,  signs from the pedestal of the column of Trajan, 1756

Britannica Concise Encyclopedia:
drawing
"Art or technique of producing images on a surface, usually paper, by means of marks in graphite, ink, chalk, charcoal, or crayon. It is often a preliminary stage to work in other media." (from http://www.answers.com/topic/drawing)
[Again, this implies that drawing is a function of the medium used]

Macmillandictionary.com:  to create a picture by making lines with a pen or pencil
[As above]

oxforddictionaries.com: produce (a picture or diagram) by making lines and marks, especially with a pen or pencil, on paper:
[ditto]

dictionary.com: a graphic representation by lines of an object or idea, as with a pencil; a delineation of form without reference to color; a sketch, plan, or design, especially one made with pen, pencil,or crayon.
[ditto]

thefreedictionary.com: The art of representing objects or forms on a surface chiefly by means of lines.
[ditto]

And finally the Google definition:

draw·ing

A picture or diagram made with a pencil, pen, or crayon rather than paint, esp. one drawn in monochrome.
The art or skill or making such pictures or diagrams.
Synonyms
design - draft - sketch - picture - draught

By this time I was getting the picture. In fact I'm beginning to think that there is no such entity as drawing after all, or that the word has lost its meaning in the 21st century; or at the very least, that it's not useful to separate drawing from painting. However I do feel that there's a thing which artists do, me included, for which it would be useful to have a word. That's where my idea of drawing comes in: I think of drawing as the art of representing three dimensions, usually but not always on a two-dimensional surface. That's the essence of drawing. The medium and surface are immaterial. The  greater the skill, the more convincing the three-dimensional effect will be. But this is only my personal understanding/definition of drawing, it's of no relevance otherwise.

Prehistoric drawings in Lascaux caves

Piranesi, interior view of the Parthenon commonly known as the Rotunda

It was a relief therefore to leave definitions behind and read the following. I love how this is put and the rest of the article is equally good.

"Ancient and timeless, the practice of drawing cuts across all art disciplines and has a broad and crucial role to play. It exists outside the constraints of fashion and art history, making startling links between the past and the present and reminding us of the continuity in our common humanity. Drawings from the past can look surprisingly modern because, technically and conceptually, we recognize in them qualities that are respected in our own time: spontaneity and simplicity, directness, rawness and expressiveness."
Anne Howeson at http://onviewonline.craftscouncil.org.uk/;/

[And three dimensions].

Some more links:

TRACEY: What is drawing for? http://www.lboro.ac.uk/departments/sota/tracey/journal/widf1.html

http://www.vam.ac.uk/content/articles/w/what-is-drawing/

http://www.youtube.com/watch?v=qBq_emueRdQ

http://artelogical.com/2012/12/09/what-is-a-drawing-jerwood-drawing-prize-2012/


Some more drawings:

Giacomo Quarenghi, Design of a triumphal arch, 1814

Hokusai, Cranes from "Quick lessons in simplified drawing", 1823.
The minimal marks show the orientation of the birds in space. Not as easy as it looks.

Egon Schiele, View from the Drawing Classroom, 1905

MC Escher, Hands, 1948

------------------------------------------

My website, my eBay

Two drawings

Mary Adam, A sprig of Duranta, held up to see it better, pencil sketch 

Mary Adam, Croton on the left and unidentified plant with white flowers on the right.

P.S. Also I'm trying out eBay for some small work -- may or may not be a good idea, guess I'll find out. My page is here.

Gothic visual culture

A book review that asks, Are we living in a second Gothic age?

Surfing: Alex Katz

There are days when I worry about not posting often enough on this blog. For months now I've had a sense of being more silent than before, or more tongue-tied. It's like there's nothing to say ... or, if there is something, I can't find words to say it. How can this be when in a sense I have more to think about than ever before? My head is spinning with new discoveries and new ideas, old thoughts coming together with new thoughts and sparks flying. Maybe it all needs time to settle down. At any rate, I'm thinking for the time being   just to post links of things found around the web that are interesting, to me anyway. Of special interest always are things that artists say about themselves and their work. These are two videos I found this morning of Alex Katz, an artist I like a lot. This is a quote from a Wikipedia article on his process:

In the early 1960s, influenced by films, television, and billboard advertising, Katz began painting large-scale paintings, often with dramatically cropped faces. Ada Katz, whom he married in 1958, has been the subject of numerous portraits throughout his career. To make one of his large works, Katz paints a small oil sketch of a subject on a masonite board; the sitting might take an hour and a half. He then makes a small, detailed drawing in pencil or charcoal, with the subject returning, perhaps, for the artist to make corrections. Katz next blows up the drawing into a "cartoon," sometimes using an overhead projector, and transfers it to an enormous canvas via "pouncing"—a technique used by Renaissance artists, involving powdered pigment pushed through tiny perforations pricked into the cartoon to recreate the composition on the surface to be painted. Katz pre-mixes all his colors and gets his brushes ready. Then he dives in and paints the canvas—12 feet wide by 7 feet high or even larger—in a session of six or seven hours.

The two video interviews:

http://www.tate.org.uk/context-comment/video/tateshots-alex-katz
http://www.guardian.co.uk/artanddesign/video/2012/nov/12/alex-katz-video-interview

Art and science

Mary Adam, Botanical drawing c. 1983, pencil, Desmodium incanum

Back in the 80s I made a series of over eighty botanical drawings of some of the small wild flowers that grow in Trinidad and Tobago. My aim was to make the drawings clear and accurate enough, and with enough detail, to enable positive identifications to be made; and to convey something of "the grace and charm peculiar to their nature".* I made written notes too, and went frequently to the West India Reference Library, which was in Belmont at the time, to consult the Flora.

I enjoyed doing them and all were drawn from life, out of doors in front of the subject. I took drawing materials with me wherever we went and developed a keen eye for specks of colour in the undergrowth, or an unusual habit or shape of leaf. I became a collector, eagerly snapping up new species.

This particular one here, I remember where it was exactly ... to the inch, and that's the case for many of them. Wish my memory were so good for other things. This one, I was sitting in front of it for perhaps an hour or two. At one point, a tiny puff of pollen was ejected from the flower as I looked at it, a detail which I don't think was in the Flora (how would it be?).

However, from an art point of view I felt these drawings were a blind alley. They occupied a grey area between art and science, neither one thing nor the other. I became stuck. I didn't know enough and there seemed to be no way to find out. It was before the internet. I put them aside, and didn't do very much drawing or painting for a few years. When I began again in the 90s, every now and then I would look at the folder of drawings and wonder what could be done with them. This is where it's at now, but with the tools and experience acquired over the last seven or so years, I'm hopeful of a different outcome, mainly from an art point of view but overlapping into science. In fact, there's a lot going on now in art with exploring the boundaries between art and science. I find it wonderfully exciting and it fits well with my background in both fields.

------------------

About the Monthly Art Market in December -- It went well, was a positive experience, and I sold more than enough to cover the expenses. It was pleasant being among artist friends and visitors who were interested in art, for two whole days.

* B. Jaxtheimer, How to paint and draw

The Monthly Art Market

I'm going to have a space at the Monthly Art Market on Saturday 22 and Sunday 23 December, 10 a.m. to 6 p.m. It's held in the courtyard of  27 Jerningham Ave which is at the corner of Jerningham and Norfolk St. It will be a new experience, no idea what to expect and lots of preparation to do. Looking forward to it and will post about it afterwards.

Zinnias

Mary Adam, Zinnias, a screenprint on Canson Edition paper

Just finished this screenprint on 100% cotton acid-free Canson Edition paper. It came from some drawings of two small potted plants I got in the garden shop about six weeks ago. The plants have withered now, would they have lasted longer if transplanted to a flower bed? I like the rough unfinished aesthetic which came from painting the separations by hand. This was one of the first drawings:

Mary Adam, Zinnias, pencil and gouache

Time taken to do the OCA degree

Right click and "open in new window" to enlarge

Belatedly, this table shows the total time taken to do the OCA Painting degree: 5 years and 8 months from receiving the first course to finishing the last one, excluding assessment. I saved almost two years by doing two courses concurrently in level 1 and level 2. The letter with the final result arrived in the post on April 12, 2011, exactly six years to the day after starting.

Related posts: 

http://mary-adam.blogspot.com/2009/09/time-taken-to-do-oca-courses.html
http://mary-adam.blogspot.com/2010/01/more-figures-stats.html
http://mary-adam.blogspot.com/2010/12/landmark.html

Drawings from Scotland and Ireland

Looking around the internet for interesting drawings I found these. 

Angela Palmer, b. Scotland 1957, makes her drawings on many sheets of glass, building up map-like linear patterns which have an other-worldly clarity. The subtle shapes remind me a little of ancient Greek sculpture. More info at http://www.artnet.com/artists/angela-palmer/

Angela Palmer, Robert Harris Portrait 3

Ink drawing on 16 sheets of glass, 34.5 x 29.5 x 24 cm.

Lucy McKenna is a young Irish artist who studied at NCAD in Dublin. The drawing is from a series called "The Darker Wood" which arose from a residency in Canada and which includes photographs and paper sculptures. 

More info at http://www.lucymckenna.com/art/thedarkerwoodgallery/index.htm.

Lucy McKenna, Tree VI, 35 x 30 cm, pencil on paper

Thanks to both artists for permission to post.

I wanted to know

Mary Adam, Little House in the Forest, 2007, collage

A lot of art is at first puzzling and bewildering and like many others I feel stupid and ignorant until I have some sort of handle on it. Science too is full of bewildering things but I'm happy to leave those to the experts, maybe read up on it or maybe not. I know someday there will be an explanation. Art though is different. Unlike science there are no right or wrong answers, it's subjective. But everything has a reason and a genesis and sometimes I want to know what the reason is.

As an artist myself I'm aware how motivation can come from odd places, from deep inside oneself or from some passing fancy, something seen or felt. And this may intertwine with all one’s experiences and skills and an idea may be born, like the tug of the fish in A Room of One’s Own. From there it may gather momentum and take physical form, although there can be long gaps between the idea and the realization of the work. This is a stage in my own learning process, understanding that the idea and the final work may be widely separated in time, during which something has been evolving in the mind of the artist. A small example might be Jackson Pollock’s drip paintings with the canvas laid on the floor, connecting back to his experience of Indian sand paintings in which coloured earths were dribbled onto the ground.

It can be very satisfying to find those connections in art, and my experience has been that usually something can be found that sheds light on the work. I ask myself, why did the artist do that in that way? The question can take one on a walkabout, looking up the artist’s biography, statements they have made, their materials, more of their work, reviews and so on. I tend to do it when I like the work a lot and want very much to understand where it came from.

If after thorough searching no reason is found one might conclude that it was in some way arbitrary. And yet on occasion something has appeared in my work for no apparent reason, and long afterward the reason makes itself known (influences for example). The main problem was not being aware of it in time to include it in a write-up. Because of this I don't see arbitrariness as an issue any more because there's always a reason.

An altered book

A first try at an altered book. The hardest part was finding a suitable book to alter. This one was an abridged edition of The Three Musketeers and it fitted the bill because I've never been keen on abridged editions. I feel it's better to read the book as the author wrote it -- because it's not the story that counts so much, it's how it's written. Altering the book was enjoyable to do, I was lost in it for a few days, in the zone.

P.S. If the YouTube video above is not showing up please use this link:

http://youtu.be/PnHNettof-I

Collage workshop

 Announcing a 3-day Collage Workshop

http://artclassesonline.blogspot.com/2012/08/collage-workshop.html

From Paul Klee's diaries

Paul Klee 1911. Photo by Alexander Eliasberg from Wikipedia.

June 1903 [...] "Toward the end of the month I prepared engravings; first, invented appropriate drawings. Not that I want to become a specialist now. But painting with its failures cries out for the relief of minor successes. Nowadays I am a very tired painter, but my skill as a draftsman holds up."

From The Diaries of Paul Klee

 Black Columns in a Landscape 1919 at the Metropolitan Museum of Art, New York. 

Collage from Plant Life series

Mary Adam, collage and monoprint, 12 x 9" approx

Trees and foliage

Two logbook pages from March 2010. These are about Van Gogh's trees and the marks he used to show the foliage.

Right-click and "open link in new window" to enlarge.

A logbook page from 2009

Page 28

Looking through an old sketchbook today for something to post, I came across this which might be of interest to some. It's from a hardcover A4 book that I was using as a combination sketchbook/logbook in the last two years of my Painting degree. This page records some basic observations about a Rembrandt etching which was the subject of another post -- here. The related thumbnail of the rainy Savannah at lower left evolved into some abstract paintings about a year later. It's often amazing the length of time between the genesis of a thing and when it actually happens though to my knowledge I hadn't been thinking about it .

Pakchoi screenprint

Mary Adam, Pakchoi, screenprint on 9 x 12" paper

The screens for this were made with drawing fluid and screen filler which is time consuming because of waiting for the screen to dry at each stage. I like the technique because it allows for some precision, and clean-up is fairly easy. It's not ideal for fine lines however and in fact this is the third try making this print, the first two fell by the wayside -- it's been going on for months! There won't be many prints left after editing but I'm pleased it has finally come into existence.

New wooden screen attached to desk with hinge clamps

I also want to correct some misinformation from a while back about the availability of wooden screens (http://mary-adam.blogspot.com/2011/08/testing-gummed-paper-tape.html). In fact wooden screens are still being made in the traditional way with a groove on the back to hold the cord which is used to stretch the fabric -- I got one recently from Dick Blick, along with a pair of heavyweight hinge clamps specially designed for screen printing. The clamps are fixed to the desk with screws and the wing nuts are adjustable to release the screen for cleaning. And the fabric can be changed at home.

Maracas

Mary Adam, Maracas Bay, graphite, 9 x 12"

 A drawing from a photo of the sea at Maracas after an ASTT plein air session on a recent Saturday, 9 x 12" sketchbook. The one below was done while there on the day in a small sketchbook. It was very fascinating to sit there in a small patch of shade contemplating the endless movement of the sea.

Mary Adam, Maracas, gouache, approx 5 x 8"

[Edited 22/3/2012, photo of Maracas drawing replaced]

Set-up for printing a collagraph

Work table ready for printing a collagraph. This is one way to lay it out, there are many other ways. In this case the work flow is from right to left but it could just as well be left to right.

Clockwise from top right:
Inks -- several tubes of ink in different colours.
Glass plate for mixing and rolling inks.
The collagraph block -- various things glued to a piece of cardboard. Ink will be rolled over it while it's on the newspaper, then it will be moved to the printing area.
A board -- this is an old canvas board that I use for printing. It has registration strips or guides securely glued on. When ready to print I put a sheet of the printing paper up against the strips and then glue it to the board. Then I center the printing block on the paper and mark the outline in pencil. This helps to get the block in the right place after each inking.
A baren -- for pressing on the back of the paper to transfer the ink from the block.
Brayers (2) -- small rubber rollers for rolling out the ink and inking the block.

Which is your family of painters?

From an oral history interview with Robert Motherwell (1915--1991):

PAUL CUMMINGS: You've mentioned before something about visiting the Stein collection and how that happened in Palo Alto. Had you seen many paintings before that in going to museums out there?

ROBERT MOTHERWELL: I used to collect books, little Italian books of all the old masters. I really learned to draw copying Michelangelo and Rembrandt and Rubens' Baroque paintings. But I didn't know modern art existed except from some Cézannes that I had come across in the Encyclopedia Britannica, which I also copied. You see, I was only seventeen when I saw the Matissess and they were literally the first twentieth-century pictures I ever saw. And I fell for them at first glance, and to this day au fond Matisse moves me more than any other twentieth-century painter. But I also think there are families of painting minds quite apart from history; that there are about -- I don't know -- five or six basic psychological types; and that whatever the type is that Matisse is, I think that is the family that I naturally belong to.

PAUL CUMMINGS: How would you describe those? What is an example of a family?

ROBERT MOTHERWELL: For example, Vermeer is the family I feel the most alien to. Several years ago in a very learned article in the College of Art Bulletin I was very pleased to discover that he used a machine -- the camera obscura. And I would say that, say Norman Rockwell, and Wyeth, and all kinds of people belong to that objective eye who love to work with photographs or machines and look at everything in a very retinal lens-like way. There's another family like the Caravaggios and the Spaniards -- Murillo and so on, and one aspect of Rembrandt that loves dramatic contrasts of light and dark and blackness and so. And there's certainly a linear type like the ancient Greeks and the Siennese and the Florentines. And there's another kind that's very sensual, that if you look at the picture from a distance it's very beautiful in its way and if you look at the surface very closely, you know, your eye just two or three inches away and just looking at a square inch or two it's intrinsically beautiful just as a painted surface, the way when you's having a beautiful meal if you look at the food, you know, you're sitting at the table and you're looking at the plate there's something marvelous about all the textures and colors and so on. And I think Matisses are par excellence that kind. And it's that kind I like. and Rembrandt has it. Titian has it. Most classical twentieth-century painting has it. The Impressionist had it, although the Impressionists are less clear-cut in their shapes than I like.

Oral history interview with Robert Motherwell, 1971 Nov. 24-1974 May 1, Archives of American Art, Smithsonian Institution

http://www.aaa.si.edu/collections/interviews/oral-history-interview-robert-motherwell-13286

Untitled Gallery

 It's online ...

http://www.untitledgallery.org/

Year-end figures

Subscribers (email and RSS) = 113 (last year = 95)

Total page views for the year = 15,096 (last year = 15,933)

Posts for 2011 = 34 (last year = 34)

Exhibitions: After five years of not exhibiting because of studying for a degree, this year I've had new work in five group shows from April onwards (the National Museum show from April to June, Women in Art annual exhibition in October-November, The Art Society of Trinidad and Tobago annual exhibition  November-December, Y Art Gallery Christmas show, and Soft Box Studios End of Year show), altogether about 12 pieces.

Yet another blog: I've started a new blog linked to my art classes website. It's mainly for announcements of upcoming workshops, additions to the website, new videos if any, etc. Partly so as not to clutter Drawing etc with things for which it wasn't intended.

Some of this year's work

28.12.2011: Post was edited to correct dates of exhibitions.

JSTOR early content

Just stumbled on this a while ago: JSTOR has made some of its content available free to the world at large. The relevant content is pre-1923 in the USA and pre-1870 in the rest of the world. I've had a peek, will have to go back when there's time. It could be useful for projects with a historical element or slant.

http://www.jstor.org

http://www.jstor.org/action/showAdvancedSearch?ModifySearch=Modify+Search&wc=off&acc=on