The creative process to me is the most important act. I feel it’s important to demand respect in my creative process. Of course, this process isn’t a thing that’s visible to all. And that’s because it is created in my own mind, so it’s not expected to be understood by anyone else. We have secrets, us creators, but the truth of the matter is, it mostly looks like writing the same idea in 50 different ways or three and deleting them all. It looks like three am ideas forgotten or typed up with blurry eyes. It’s caffeine highs and caffeine free for the day with hope that the spark might…. maybe…. possibly return for just a moment. When it doesn’t, it looks like tears and manic episodes and madness. Tantrums with myself that no one else would truly understand. Hearing the words, “Why don’t you just do it?” over and over again. And there’s a possibility that I could, but this creative process is the biology of the artist. It’s greatness folded in with the limitations of being human.
Paul Cézanne was a post-impressionist painter born January 19th 1839 in France. Cézanne felt that art should go hand in hand with nature. In a letter to one of his pupils, Emile Zola, he says, ” But you know all the pictures painted inside, in the studio, will never be as good as the things done outside.” He felt that an artist should see nature in a way that no one has seen it before. That they must make a vision for themselves. Not in an extremely cryptic way, but by being fully conscious of their own sensations. Of both feelings and visual sensations in unison. And then, using intelligence, organize it into their work.
I really like that he says we must make visions for ourselves. I think at this point it’s so easy for people to say “everything’s been done” but I don’t think everything’s been done. If we take things that have already been done and mingle it with our own beliefs and experiences I truly believe we could create something that’s never been done. However if we get too caught up on trying to create the thing that hasn’t been done, we miss out on the act of creating. And that’s where the connection, or the uniqueness, lies. I don’t think creating something that hasn’t been created yet is as important as creating something that truly reflects who you are. And to create something that truly reflects who you are requires a consciousness of yourself, your feelings, your experiences, and the world through your eyes.
Thanks for reading check out some more art tidbits
I need to know about the artist not the art. The art is great, but I prefer to learn the artist because for me that’s what makes the art. Please bare with me while I try and find a new book on the lives of artists and their art that I enjoy enough to write and learn more about.
In Asian art, jade is considered to be the most powerful and mystical material. Particularly in China, jade is associated with imperial authority, heaven and immortality. The Chinese have a saying: ‘One can put a price on gold, but Jade is priceless.’ Some of the finest pieces of jade out price diamonds and are desired all over the world.
Book “The Arts Of Asia Materials Techniques Styles,” Meher McArthur
According to Mutualart.com, “Jan Toorop was a Dutch visual artist who was born in 1858. He has had numerous gallery and museum exhibitions, including at the Solomon R. Guggenheim Museum and at the Rijksmuseum. Many works by the artist have been sold at auction, including ‘Portret van mevrouw M.J. de Lange – Portrait of Mrs M.J. de Lange’ sold at Christie’s Amsterdam ‘TWENTIETH CENTURY ART INCLUDING BELGIAN ART’ in 2005 for $964,318.
I don’t know much about art sales but that’s a lot of money. It’s not only impressing that he sold a piece for that much but that he dabbled in many different styles of art including book covers, sketches, and portraits. And according to Wikipedia, Toorop was the center of an artist group in the seaside town Domburg, Walcheren, Zeeland.
The versatility in Toorop’s art is astounding! Here’s a link to see more of Toorop’s art showing how versatile he truly was.
“The sense of mystery is a matter of being all the time amid the equivocal, in double and triple aspects, and hints of aspects (images within images), forms which are coming to birth, or which will come to birth according to the state of mind of the observer.”
The place we go to find ourselves is often the place we fear the most. We procrastinate and put that place where we dwell on hold for when life gets easier and when things feel more comfortable. The only thing is we as humans hide pieces ourselves in the most uncomfortable places.
Whistlers early and consistent use of musical titles ‘nocturnes’, ‘symphonies’ and ‘arrangements’, helped to confirm the impression that the visual arts ought to aspire towards the condition of music; and his decorative ideas- such as the use of a peacock- feather pattern in the room which he painted for his patron F.R. Leyland- were extensively plagiarized.
According to Edward Lucie-Smith in his book titled Symbolist Art, “There is some current disposition to underrate Whistler and write him off as an essentially isolated artist. To do this is to distort the history of the art of his time, in which he was, and remained an influential, even central, figure.” I think very often we as artists forget how much effort it takes to stay in solitude to complete a piece. Outside of the art world they may never understand the amount of copious hours we spend hacking away at our projects. If you’re all in, it’s a constant battle to stay focused and build your piece into something you can be proud of. Even here with Whistler people are ready to write him off as an isolated artist, but how we work on our art is how we inspire others and help other creators of our time. This is being part of something. So those of you who are struggling to focus because people say you’re spending too much isolated time on your masterpiece, you’re part of the crowd and you are not alone.
You can check out where I got the pics from here:
File:Whistler James Symphony in White no 2 (The Little White Girl) 1864.jpg
For today’s post I wanted to talk about African influence on modern art. I was wondering at first why there isn’t more diversity in Symbolic art. I found that there is diversity and I wanted to make sure to share it. I planned this post last week and I’ve been eager to share it all week. According to The Met, “During the early 1900s, the aesthetics of traditional African sculpture became a powerful influence among European artists who formed an avant-garde in the development of modern art.” Painters including Henri Matisse and Pablo Picasso, blended the post-impressionist works of Cezanne and Ganguin with the “highly stylized treatment of the human figure in African sculptures.” The combination of the two resulted in pictorial flatness, vivid color palette, and fragmented Cubist shapes which helped define early modernism. What I find most fascinating is that “the artists knew nothing of the original meaning and function of the West and Central African sculptures they encountered, [but] they instantly recognized the spiritual aspect of the composition and adapted these qualities to their own efforts to move beyond the naturalism that had defined Western art since the Renaissance.”
There may be some out there that say these artists stole ideas from African sculptures. I think it’s important to keep in mind that in the art world it’s a complement to influence other artists. I borrow many things from other writers when creating new stories and poems, but most of my work is influenced by creators that have the biggest impact on me. When you are an innovator or creator that is what moves things forward in ways that are needed in order for an artist or even a society to grow. Henry James says ” Art lives in curiosity, exchange of views, variety of attempt, experiment, and comparison of standpoints.” Without the strong influence of these African sculptures, early modern art would not be the same or could not have happened at all.
The Long Wandering Path to Desire by Frances Macdonald.
The Blackthorns by Margaret Macdonald
According to Claire E. Jones with InquiriesJournal.com, “Margaret and Frances Macdonald embodied this ‘new woman’ with their status and education as professional artists and the visual motifs that they accordingly employed. They managed to combine feminine and masculine characteristics into one figure in their works, effectively establishing an androgynous figure. In the process they managed to establish an equality, if not superiority, of women and men.
The director, Francis H. Newbery, was committed to an excellence in art that combined functionalism with beauty while encouraging individuality and experimentation among his students. Here the instructors trained the Macdonald girls as professional artists. This is also where they met their future husbands, Charles Rennie Mackintosh and James Herbert McNair. These four youths came to be known as the “Glasgow Four” during their time at the school.”
I think these ladies seem pretty awesome and I love the way their work seems to sway. AND they are the first female painters I’ve blogged about. Their styles are similar, but still unique to each of them. So inspiring! I can’t wait to learn about more artists.