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Weekly Work |
Art And Anecdotes |
(was Daily Drawing) |
Entertaining · Amusing · Interesting. And Free.
| 1998 · Year 1 · No. 44 · Nov. 26 | ISSN 1437-1383 |
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Entertaining · Amusing · Interesting. And Free.
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please email me weekly-work@art-quarter.com with the appropriate subject) |
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Last week I chose a middle sized painting called "Family" with number 618. This week, I go back some 330 numbers. This painting is about the same size. Kind of a representative painting to hang over the sofa.
Well, maybe your visitors and friends will feel a little bit embarrassed in this case seeing all the naked breasts. Nudity sure is a topic on the Internet. Even my artists friends are confused and discuss politics to obey when nudity is shown as well as trends of the public in education and exhibition. Some find the situation scary. I don't. Well, not quite true, I realize that I avoided to show naked breasts so far. So this is a premiere.
At times, I exhibited a lot. Some people observed a lot of bare breasts. I think they were right. This painting is a perfect example for them. Obviously, it isn't a painting about bare breasts, however. Those women are not at the center of the painting. They are related to the hero with the ape at his shoulder. When I started my work catalog, I noticed the number of animals in my paintings. If I'm right, this is the only one with an ape. There are lots with a snake.
Sometimes people think I "invent" those animals and people. While this may be true with other artists, it is not the case with me. If you're interested, read the opening speech of one of my exhibitions called On observing the creative process where I recall the genesis of one of my paintings (226, All Those Animals) which was recorded with slides. I had a terrible hard time to arrive at the snake in that painting.
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However, this is not the rule. Usually, objects show up quite easily, and you can see it on our painting of the week very clearly. Most of my paintings are painted very thin, which means you can see every stroke. Also, you would see very clearly every attempt to correct anything. Therefore, most probably nothing is corrected ever. Every stroke is final.
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Look at the breasts of the woman at center. You can see a horizontal line which serves no particular purpose any longer. If your eye wanders a little more downward, you'll notice a similar parallel line from the nipples of the other woman to the angle in the neck of the snake. These are two hints at something not right at the first stroke.
I am very proud of this painting. I lived with it for a long time and know it very good by now. This is a good example of what painting is all about. This painting has a lot of power of its own, not borrowed from any story apart from the painting.
In the last issue of Pablo Journal, I talked about abstract painting (Kandinsky / Kelly: All Abstract). Abstract painting tried to establish painting in its own right. Painting should no longer serve any particular purpose apart from being a painting.
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This was a valid goal, but it also had its own drawbacks. Abstract painting often has to fight unwanted associations. If you look at Kandinsky's painting, you will probably experience some of these associations. Even with Kelly's painting, associations do occur, for example with a huge paper coffee filter.
I think, the human soul actively looks for meaning and even projects meaning actively onto objects which are obviously without meaning. Good old Leonardo da Vinci (you know, the one who painted famous Mona Lisa) advised painters and would be painters to study structures on weathered walls to kick off fantasy.
In my opinion, painting can be used to reveal meaning. Don't confuse this with illustration. In my understanding, illustration occurs if the painter has an idea before he or she does the first stroke. Even if this idea is changed in the process of painting, integrating sudden inventions, this kind of procedure will most probably still be illustration. In contrast, I have learnt to abhor all kinds of intellectual interference. My duty as a painter is to be absolutely humble towards the process, to be nothing but a means to bring the painting into being.
Time to close this issue, time to remind you of the November contest at ArtQuest®. If you haven't done yet, surf over to ArtQuest and sign up for the draw end of November!
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I added sections for artists Christoph Fischer, Jochen Brennecke and Danny Conant. Have a look! New works are added to Robert Schaefer's page at Gallery Daguerre.
All the best 'til next time. Yours truly,
PS:
If you have enjoyed this issue, please support my efforts and recommend it
to a friend. For your convenience, I prepared both a mailto:
link at the top and a Recommend-It button at the bottom.
Also, I changed layout, grouped the advertisements together at the end instead of interspersing in the text. To give feedback: If you like the new layout better, click here, else click here.
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289 · Red Duck
Original Work |
521 · Singer
Original Work by Joe Doe in Gallery Clay at Art Quarter click image to see different views 6*8*7cm · 3x3x3" · Terracotta on plaster socle · 1,479 US$ · Inquiry No hidden costs: shipping, handling, taxes or duties included. 3 month no questions asked money back guarantee. Phone 049-5223-820-582 (fax -584) or (US) |
London
Original Work
Cibaprint, edition 10 · 379 US$ · Inquiry No hidden costs: shipping, handling, taxes or duties included. 3 month no questions asked money back guarantee. Phone 049-5223-820-582 (fax -584) or (US) |
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