“The Pleasures and Sorrows of Work…”

September 8, 2018 § 1 Comment

…is the title of a book by Alain de Botton. Botton describes the conflicted relationship to work that many people experience in their lives, and he draws a poignant comparison with the experience of the craftsman’s work.

In a job, he says, “…Our exertions generally find no enduring physical correlatives. We are diluted in gigantic intangible collective projects, which leave us wondering what we did last year and, more profoundly, where we have gone and quite what we have amounted to. We confront our lost energies in the pathos of the retirement party.

How different everything is for the craftsman who transforms a part of the world with his own hands, who can see his work as emanating from his being and can step back at the end of a day or lifetime and point to an object – whether a square of canvas, a chair or a clay jug – and see it as a stable repository of his skills and an accurate record of his years, and hence feel collected together in one place, rather than strung out across projects which long ago evaporated into nothing one could hold or see.”


Elise Schweitzer

October 7, 2017 § Leave a comment

The Perils of Art

September 20, 2017 § Leave a comment

Screen Shot 2017-09-20 at 11.01.15 AM


November 5, 2016 § 2 Comments

“When you hit a wrong note, it’s the next note that you play that determines if it’s good or bad.” -Miles Davis

How often when painting do we put down a color patch, a mark, or a brushstroke that just doesn’t hit the note we’re after? Too often. The many ways that our moves on the canvas can be off are dauntingly large. The value can be too dark or too light. The hue and temperature can fail to mesh with the existing colors. They might pop out or sink in, or create a jarring discord. The drawing – things that affect the rightness of proportion, or the readability of the space – can go off track, creating strange distortions.

Our first reaction is to think we’ve made a mistake! A mistake is something that is not correct, an inaccuracy. But what if we change the way we look at, and think about, this apparent disaster? Learning to paint is not just about learning techniques, it’s about appropriating new eyes and a new mind for considering this fraught enterprise in which we’re engaged. What if we stop thinking about that bad color note as an isolated “incorrectness” and instead consider the whole context in which this misstep appears defective? Sometimes a mistake is a gift in disguise.

In the end, every color we put on the canvas is simply a fact. Every color is a verb that acts. That patch of paint we’ve just applied to the canvas has a color hue and temperature, a value and an a level of saturation or intensity. Further, and more importantly, it’s appearance in our painting is a function not just of pigment but of relationship. Leonardo was perhaps the first artist to note the phenomenon of relativity in color and value. A color, he says, appears as it does according to the context in which it is placed, and that same color can look very different depending on the other colors it is seen against. Delacroix, embracing this phenomenon of painting said, famously, “Give me mud, and with it I will paint the flesh of Venus, if you allow me to surround it as I please.”

Miles Davis, the great jazz trumpeter, gives us a new way to think about these so-called mistakes. Everything depends, he says, on what comes next. The next notes you play can either confirm and compound the sense of wrongness, or they can begin to welcome that mistake into the ensemble and make it meaningful, even revelatory. A mistake is what we make when we’re following a preconceived aim and a piece of the puzzle doesn’t fit. If we stay open to what happens we have the potential of following the work into some very interesting territory. The many gaps between what we think we’re doing and what actually happens is where a lot of the excitement of painting happens. Thinking of painting as a kind of visual improvisation, rather than a step by step process, opens new doors. It gives us a whole different set of sensitivities with which to solve the problems of a particular painting.

Wayne Thiebaud’s Painted World

September 8, 2016 § Leave a comment

I was privileged as a young student to participate in a workshop at Mountain Lake in Virginia in the early 1980s, organized by my teacher, Ray Kass, from Virginia Tech. I imagined that Thiebaud would be a kind of Oscar Wilde-like character, as colorful and flamboyant as his delicious paintings of pies and cakes that were very much defining the contemporary art world at that time, the world that I, as a young painter, was preparing to enter. What I found instead was a deeply humble man who wasn’t much interested in talking about himself, his work, or his reputation. We spent an evening looking at old, brown masters of the past – Chardin, Rembrandt, Tintoretto and others – while Thiebaud held forth on his deeply held belief in the need for painters to work at acquiring the disciplines of looking and seeing the world around them. Here’s an instructive excerpt of a talk by Wayne Thiebaud given at the New York Studio School in 1999. In it he articulates in his wonderfully clear, no-nonsense way, some of the same values that he shared with us those many years ago.

Richard Diebenkorn’s Sketchbooks 2

January 18, 2016 § 2 Comments


Stanford University has launched an interactive website containing all of the sketchbooks of Richard Diebenkorn, 1922-1993. Click the drawing above to visit the site.

Diebenkorn’s Sketchbooks

August 26, 2015 § 1 Comment

Richard Diebenkorn, Cover of Sketchbook #8 (1943–93), printing ink on laminated board (gift of Phyllis Diebenkorn, © The Richard Diebenkorn Foundation)

Richard Diebenkorn, Cover of Sketchbook #8 (1943–93), printing ink on laminated board (gift of Phyllis Diebenkorn, © The Richard Diebenkorn Foundation)

Click the image to read Allison Meier’s article for Hyperallergic.
%d bloggers like this: