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Careful for that axe, Eugene

Joe's Daily Drawing

1998, Year 1
No. 21 Aug 12

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224, Careful for that axe, Eugene


Announcement: Gallery Daguerre at Art Quarter added artist Robert A. Schaefer, Jr. from New York, NY.

Robert A. Schaefer Jr. is a renowned photographer having received numerous awards, his works being present in private and public collections. He exhibits in USA and all over Europe at galleries (among others the eminent Berlin Gallery Raab) and museums (next year, he will have a one man show at Huntsville Museum of Art, Alabama). Click here for a selection. He concentrates on people and architecture. We will be adding more of his pictures soon.


The text addition is a fragment from a rock song, I don't remember the group, it must be from the early seventies. This is the very next painting after the one I showed yesterday. I was entering a very productive and successful period. Many of these paintings are sold. The painter I mentioned yesterday, his name is Erich Engelbrecht, negotiated with his old mother to let me use his old studio in his parent's house. I started this painting there, and this was the first I accompanied with snapshots of the development process. I wanted to know what happens, after all, I was a rational scientist, read a lot of C.G. Jung through Engelbrecht, but later on I found that this inspection was extremely harmful. It was a very exciting time, I spend a lot of space recalling it in my memoirs.

Once I held a speech opening an exhibition entitled "On observing the creative process." I used a different painting to illustrate the point, though. It was very hard for me to see what was wrong with it. Even Engelbrecht had no advice. But it was extremely simple. Later on, I had one of my few great dreams. This dream had several parts, in one part there were people on a party which I looked at. After a while, I realized that this was not a usual situation. Those people not only did not mention me, they were deeply involved in conversation and climbed the stairs up and down in a way which was just impossible: There were no stairs where they went.

I looked on and felt great love for them and knew, I wanted to paint such people. Then came a big guy form another direction towards me. He was beautiful, too, and totally naked, and I felt shy towards him. I wondered if I could dare to say him how much I loved him, when he approached me and talked! "We would like to come to you, voluntarily. Put away with the microphone!" I had the idea of a microphone replaced by a camera. He was so right, I immediately understood my fault. Then I approached him some more, he exposed himself to my view, and I saw that he was flat! As if painted and cut out.

Well, I never touched that camera again. I had learnt my lesson. Later, I saw movies showing Picasso paint. I really adore him and think, he is one of the great painters of all times. But he also did so much of really low quality, and these things certainly belong to the latter. I found out then that the greeks already knew: Either you produce a poem or you analyze it. In the seventies, it became clear that the left and right brains are quite different and in some respect represent these different modes. There is a book on this theme by Betty Edwards, her Ph.D. Thesis, and another one, delving into the theme of how you can either draw or reflect, also how to get yourself at will into a state where you can draw. I found out about that myself when teaching and use this approach in my Creativity Journal, too (without talking about the theory, of course).

When I look at painting 224, I associate with it a well known painting of Picasso from the blue period. He was still young then, trying to find his way. In the blue period he first found something of his very own. I had fun with the Pablo experiment yesterday, so I will put up another supplement today with this pairing. I never put reproductions of the two next to each other, Pablo is the place to do it. I am really curious.

Well, it worked out very fine, in my opinion. See for yourself: Pablo 1.1b

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