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Joe's Daily Drawing

1998 Year 1 No. 36 Sep 29

renamed to:

now weekly

Joe's Weekly Work

282, with green jacket

3 Heads

282, with green jacket

ad Gallery
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Original Work

   by Anne Stahl, Gallery Beck at Art Quarter  

Weekly Work | Beckmann | 3 Heads | ad Gallery | Free Report


First: My native language is German. Experienced marketers think I should inform you. Second: My last week was filled with promotion and email, but I'm back to normal with my load of stress. Nobody complained about reduction of frequency. Thank you for your sympathy.

I have a preface to my other journals, and there I say:

It is for you and all the great masters that I do this work, and I hope you will enjoy it.

Of course, the sentence applies to this journal, too. Some of you have given me feedback along the way, and I set up a testimonial page yesterday to encourage others to join our adventure.

Writing along, I feel I'd like to know not only if you like it. I want to know who you are. Who is it I am writing these pages for? Tell me your motivation to join, your expectations, your experiences. Do I address your curiosity at all? How can I serve you better?

If you prefer, you can stay anonymous, I don't have to know your real name to profit from your feedback. If you don't want me to answer personally, just tell me, I'll respect your privacy. To ease your part, I'll mail you a questionnaire: click here. Or you write an informal letter.

Weekly Work | Beckmann | 3 Heads | ad Gallery | Free Report

This undertaking is new and no advice can be given. It would simply not have been possible in former times. We have to find out what can be done with it, we are free to do what we want. I produce this series one after one, and you can communicate with me on the spot via email. Take your chance! Let's find out together what can be done with this wonderful medium!

What about you writing on the paintings? I could give you the address of a painting and compile different views in this journal the week after. What about you proposing the next work to be rambled on? I can tell you the address I pick my choice from. What about reconsidering work already shown in a back issue for deeper investigation? What about discussing questions of art and art production not necessarily related to the work presented?


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Weekly Work | Beckmann | 3 Heads | ad Gallery | Free Report

What about dropping my person and work and switch to other artists? How about Anne Stahl, featured in this week's Gallery ad? How about Tina Tacke, featured last week? Or Photographers? I will add Jochen Brennecke and Danny Conant to this section, set up a new gallery for Naive Art with Anne Harris and Navitrolla, maybe a gallery for Realism, too. How about that?

Jochen Brennecke, Danny Conant, Anne Harris, Navitrolla

People chat and post passionately everywhere. Quite a while ago, I set up a discussion forum for each of my journals at Deja News. Nobody ever used it so far. I set up my lists with OneList originally. They are still there and deliver subscribers. How about using these lists to communicate more directly?

Weekly Work | Beckmann | 3 Heads | ad Gallery | Free Report

If you will write me, it may turn out that there are people with different needs out there. The most simple idea were a split public of art consumers and art producers. Some would understand perfectly well what I am trying to communicate, being annoyed by my baby talk, others could be totally alienated in not understanding at all what I am trying to relate to.

The painting I chose for today is quite popular. It is cute and nice. I could have sold it several times, I guess. But it is impossible for me to redo a painting just because it is popular. It was not uncommon in former days. Even Beckmann made a second version of his family painting for a customer who loved the first one, this being sold already.

Max Beckmann, Family Pictures

Weekly Work | Beckmann | 3 Heads | ad Gallery | Free Report

But... there are themes showing up again and again. Like self portraits with Beckmann. We had some already, those 2 head paintings talked about last week, for example. This painting is another typical theme. Remember this one?


Weekly Work | Beckmann | 3 Heads | ad Gallery | Free Report

I reread my comments to the drawing at left. The painting at right is one of those I referred to in the comment as being one of many to a theme. Psychological comments are fine, but somehow they don't get at the point.

First they only relate to me or to the viewer, so it it personal and narrow. It would certainly be nice to know what Mozart felt with a particular piece of music, but would it help any in our appreciation today? Or if I knew exactly what this painting means to you, would it help me? Probably not.

Next fact is: This is a painting or a piece of music or whatever. Can you really hope to get at it with words? Did Freud's comments to Leonardo help us to appreciate Leonardo's paintings? They helped to understand the man, they offered surprising insights, but the paintings remain untouched.

I studied art history for a short while. I was eager to find out what they can say about painting. They are great with words. They see a lot. They can express what they see with their vocabulary. They can open your eyes so that you can see it, too. But my feeling was, that at the end of this trail only art finally begins. Here they have to silence down. Wittgenstein said: "What you can't talk about you have to silence upon."

Weekly Work | Beckmann | 3 Heads | ad Gallery | Free Report

There is a nice anecdote to this painting, too.

It was featured together with an even larger landscape format in a mail order catalog in the 80ies. It was a novelty, the first originals offered there, the first large formats, the first works from a living painter not being kitsch (they offered great dead masters at high prices, too). I told the story already in MMA Journal 1.6.

Somebody ordered one painting. They shipped it to him. In the meantime somebody else ordered the same painting. He was offered the other one. He did not like it. The first was upset about the size of the painting, which was pointed out clearly in the catalog, so he should have known. The painting came back. They had not copied the number of the second prospect. And that was it.

This painting was sold, nevertheless. One of the bosses hung it in his office, and when he negotiated with a marketing person from Switzerland, his partner saw the painting all the time and finally bought it. So they figured out you got to see such a painting as an original, you can't sell it via catalog and mail order. They bought 2 paintings to show them in their house. Conclusion But times changed, exhibitions were not held, so the year after both were printed in the catalog. And one was sold from the catalog.

So what conclusion can be drawn here?

Weekly Work | Beckmann | 3 Heads | ad Gallery | Free Report
Also New This Week:

MMA Journal 1.8
Spreading the Word


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