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Weekly Work |
Art And Anecdotes (was Daily Drawing) |
Entertaining · Amusing · Interesting. And Free. |
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Year 2 · No.2 · Jan 22 1999 |
ISSN 1437-1383 |
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| Hello, dear readers, welcome to this week's
issue of Weekly Work.
Somehow, it's a peculiar feeling to write to you this week. I know that most publishers don't get much feedback. Last week, I implemented lots of easy mailto links to find out about your preferences. Now imagine this: nobody answered. Quite naturally, I asked myself if anybody reads my writings at all? Never mind. If you don't read, maybe somebody else will at a later time. Right now, I read a book about Vermeer written some 20 years ago. I'm pretty moved, so I tried to contact the author. Unfortunately, it is next to impossible to find out if he is even still alive. The publisher doesn't have any contact any more, and there are too many people with the same name on the telephone CD. Funny thought: he wrote this fine essay 20 years ago, and here I am, drawing so much delight from it. Furthermore, there may be thousands of this book in private libraries, and many more people may read this book over the coming centuries. Hence, even if nobody reads this now, maybe sometime someone will. And nobody will know if I'm still alive! During the Christmas holidays, I had to move all my paintings to a different location. Of course, I didn't have much time to look at them, but whenever I had the chance, I was overwhelmed by the beauty of each of them. In particular, I was surprised how great my early works were. They weren't that good in my remembrance, but I was clearly wrong. Great pieces of an emerging artist on track finding his way in the dark. Unfortunately, the photographs I took from these paintings many years ago aren't that great, but what is worse: I didn't even know that they were bad. Given the time, I'd like to make new photographs to show them here. To celebrate my early work today, I choose number 176, but then I found out I had talked about this one already in WW 1.19. In the meantime, I had already produced a new scan and prepared some close ups. That's why I will show them nevertheless. This painting was one of the first I sold. I sold it to the wife of a teacher colleague when I left school to become a full time painter. To appreciate it in our times of art fashion, I decided to confront it with one of Picasso's early large paintings, because both show a group of people with a strange atmosphere. The close ups show the beauty much more than the little thumbnail of the large painting can possibly deliver.
There is another painting on the back, of same size, of course, which the buyer didn't like at all. This is the one I chose as this week's painting instead. Quite obviously, if you know Picasso well, you see it is indebted to him very much. Many people will think that this is weakness. Don't be fooled! It is strength. It shows that this painter isn't afraid of taking from Picasso. It is a great painting, and it is all his own.
Actually, this process is unavoidable. Rembrandt's early paintings are indebted to his teacher, Pieter Lastman, Vermeer's early paintings are indebted to Rembrandt, and so on, just take a look at Picasso's early paintings! Picasso stole from many colleagues, and he is outstanding also in the respect that he even stole during his whole life. When his friend Matisse died, he adopted his style for a long time, and he quite frankly confessed it publicly. A couple of weeks ago, I stumbled upon a program which makes puzzles from any picture and lets you play these puzzles. I tested it, liked it and paid for it. I intended to produce stand-alone puzzles to give away freely, but unfortunately, this isn't possible, as I found out too late. I contacted the programmer, but he wasn't keen to change anything. I looked around for a while and found somebody else. I didn't have a chance to test his program yet, but an hour ago, he informed me that he plans to release a version which seems to do exactly what I want. Anyhow, I transformed some of my paintings into puzzles and I must confess, playing was a great delight and an extraordinary experience indeed. (Oh, I remember, I told you already last week.) Now with my close ups, I can pass a little bit of this delight to you.
Hope you enjoyed this issue, see you again next week. Masthead images this time again by Joe (who's that?) at Gallery Clay.
All the best 'til next time. Yours truly,
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