I love this little painting! I love the chattering teeth character; sometimes I feel like this painting looks. I’m happy with the looseness I managed in this painting, as well as being able to describe so many of the color-shapes with single brushstrokes. More tomorrow!
Notes from “Thoughts About Painting” by Louis Finkelstein from “Painterly Painting,” 1971
“Between technique, vision, design, expression there is no seam; neither is one thing the cause and another the result.”
“Painterly…the subordination of individual objects to the sense of the circumambient medium, or the rendering of optical values as distinct from tactile, or as giving weight through color rather than through modeling, or as a distinction of focus through variations of brushstroke, etc.”
“Each painter’s idiosyncratic painting style is the…realization of several successive kinds of reading into the way paint symbolizes air, matter, space, light, flesh.”
“…sustaining of penetration so that the artist continually moves past a simply available solution to one which has greater depth.”
“What we take to be the same color when it has a vague edge is perceived completely differently from when it has a defined edge.”
“color modified by reflected light”
“color modification by simultaneous contrast”
“the amount of visual information which is capable of being transmitted by optical arrangements is in excess of what we require.”
“Rembrandt’s reduction creates and fortifies expression. This is because it acts out the way in which we find meaning in our living experiences.”
“Every choice, every action which decides something about each event must be taken with a view to the longest structure in time and sound which will give to the separate elements the most articulate meaning.”
Class notes from SAIC, 1991
Strive for awareness of movement from:
- warm to cool
- bright to dull
- repetition to change
- quiet to noisy
Class notes from Drawing the Figure in Space with Elizabeth Rupprecht, SAIC, 1991
Mark Tobey drawing diagram of a fly flying around the studio – what’s behind you is as important as the rest. Fly’s eye view.
1. Cezanne drew from inside out
2. Yin/yang – figure/ground.
3. Color – reacts against what’s behind it.
Go back to the back wall – pull planes forward towards you.
Class Notes from Art School, SAIC, 1991
More artists to look at:
- Leon Golub: lots of layers, painting, disrupting it, etc.
- Roche Rabell
- de Kooning
- Rothenburg: an investigation of the same form; break it down, open it up, more abstracted. Space horse is in; deconstructing, reconstructing. Another layer of movement added by lines.
- Donald Sultan, Clyfford Still – idea of shape.
- *Louisa Chase; Frankenthaler
- *Forest Bess – visionary abstraction.
- Phillip Taffe – simplified landscape.
- Baziotes, Jonathon Lasker – the role of line.
- Louise Bourgeois
- Gary Stephen
- Terry Winters
Figuration and abstraction.
How ideas are developed.
Comes from nature.
Look at source periodically.
Can you not go back and be very particular after moving fast, getting abstract?
Diebenkorn (Diebenkorn’s missing works) – colors on cigar box top – beautiful: Yellow, lavendar, green, pink, peach, white – very pale with strip of red, brown. Archeological presence of landscape – strata, layers.
Giorgio Morandi – simplicity of shapes. The less there is to look at, the more you look at it (a specific edge). Drawing aspect vs. painting aspect – how to find out from different material.
- Paul Klee – still lifes.
- Gregory Gillespie – very intense – collage (too tight) + wonderfully encrusted walls.
- William Bailey
- Nicholas de Stael
- Pat Stier – 3 still lifes.
- Giacometti – drawing as a presence in the painting.
- Brice Marden – calligraphic, gets looser as time goes by, more figurative. Great interview here.
- Joan Mitchell
- Mel Bochner drawings – lines of force.
- Romare Bearden – NOT flat collages.
- *Charles Burchfield
- Kenny Sharf
- Malcolm Morley
- Sherrie Levine
- Jan Cherkey (?)
- Melissa Miller
- Roberto Matta, more
- Robert Stackhouse, more
- Jake Barlow (Batow?)
- Ross Bleckner
Class notes, SAIC, 1991
- More transparent colors recede; more opaque colors come forward.
- Unify the painting by using the same yellow, orange, etc.
- Gray colors by using their complements.
Class notes from art camp classes with George Liebert and Dan Gustin, Oxbow, MI, summer 1991.
Make a list of verbs and adjectives about your own work.
When struggling with a work, isolate parts of it and do lots of sketches to come up with a better composition.