Tuesday, March 31, 2009

Music sketch

A playful drawing from Vermeer's time by Leonart Bramer.












(That must be a cat on the lower left, but it does look a bit like a seal).

Musicians in an Interior (detail)
Leonaert Bramer
c. 1660, 37.2 x 46.3 cm., Rijksmuseum, Amsterdam

From this website, which has some wonderful samples to listen to of music played on instruments of the same era.

Sunday, March 29, 2009

Juan Gris

























Image:
Juan Gris
The Violin
1916
Oil on three-ply panel, 116.5 x 73 cm (45 3/4 x 28 3/4 in)
Kunstmuseum, Basel

Saturday, March 28, 2009

Intermission

"A man sat at a metro station in Washington DC and started to play the violin; it was a cold January morning. He played six Bach pieces for about 45 minutes. During that time, since it was rush hour, it was calculated that thousands of people went through the station, most of them on their way to work.

Three minutes went by and a middle aged man noticed there was musician playing. He slowed his pace and stopped for a few seconds and then hurried up to meet his schedule.

A minute later, the violinist received his first dollar tip: a woman threw the money in the till and without stopping continued to walk.

A few minutes later, someone leaned against the wall to listen to him, but the man looked at his watch and started to walk again. Clearly he was late for work.

The one who paid the most attention was a 3 year old boy. His mother tagged him along, hurried but the kid stopped to look at the violinist. Finally the mother pushed hard and the child continued to walk turning his head all the time. This action was repeated by several other children. All the parents, without exception, forced them to move on.

In the 45 minutes the musician played, only 6 people stopped and stayed for a while. About 20 gave him money but continued to walk their normal pace. He collected $32. When he finished playing and silence took over, no one noticed it. No one applauded, nor was there any recognition.

No one knew this, but the violinist was Joshua Bell, one of the best musicians in the world. He played one of the most intricate pieces ever written with a violin worth 3.5 million dollars.

Two days before his playing in the subway, Joshua Bell sold out at a theater in Boston and the seats averaged $100.

This is a real story. Joshua Bell playing incognito in the metro station was organized by the Washington Post as part of an social experiment about perception, taste and priorities of people. The outlines were: in a commonplace environment at an inappropriate hour: Do we perceive beauty? Do we stop to appreciate it? Do we recognize the talent in an unexpected context?"
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The above text is from an email I received from my Mom. The writer of this summary is anonymous. I have excluded the final words posing a possible interpretation of the experiment. 

Personally, I am musing over the word "intermission" in relation to the story.

To read the full, original Washington Post article, click here.

(You will eventually scroll past the cosmetic surgery ad, hang in there, it's worth it).

See and hear the performance here.

Binky's clouds

My friend Binky Walker is in a group show at Catherine Person Gallery. Come see her skillful and delicate drawings of clouds changing subtly from moment to moment. 

Opening this Thursday.
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Catherine Person Gallery
319 Third Ave South
Seattle, WA 98104
www.catherineperson.com
206.763.5565
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HIGH LINE
A Drawing Survey April 2 - May 16, 2009

Join us for the Opening on First Thursday, April 2nd, 6-8 pm

Catherine Person Gallery is pleased to announce High Line, an exhibition of contemporary drawings by Seattle artists Pam Keeley, Barry Maxwell, Julie Alexander, Colleen Hayward, Joseph Pentheroudakis, Binky Walker. 
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For artists in every career stage - from emerging to the most mature - drawing offers viewers the most direct record of an artist’s thoughts and mark of the hand. High Line surveys various drawing methods and materials within the styles of figurative and abstraction, ranging in scale from a miniature one inch to a muscular sixty inches. Each of the artists’ drawings reflects patience in art practice, devotion to detail and enormous skill. Drawings have long been sought after and collected for being a personal reflection of the artist and accessibility.
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Image:
Binky Walker. From the Series Measure of Difference, Triptych no. 5 (detail), graphite on paper,7” x 7” on 15" x 15" paper (each image) 2008

To preview additional work, please go www.catherineperson.com and click on Exhibitions.

Wednesday, March 18, 2009

Why 4Cats?

I've been meaning to share the origin of "4Cats Art Cafe".

























It's named for Els Quatre Gats, the cafe in Barcelona where Picasso and friends used to hang out when he was a young man. The cafe was founded in 1897 and is still there, with its black and white tiles, marble tables, and piano and violin music. 

The cafe's owners, primarily artist Ramon Casas i Carbó, promoted art, artists, and art events. He and his partners even ran an art paper for a while called Pel & Ploma, and another called Forma

The cafe became a hub of Modernism, with Picasso's friends, the sculptor Julio Gonzalez and the painters Miguel Utrillo and Santiago Rusiñol i Prats, frequent visitors.

I love the idea of a place where ideas about art were batted around and printed words and images flowed along with the wine and tapas.

Hence, my version of
Els Quatre Gats: 4Cats Art Cafe.

I see that the restaurant is now using the same incarnation of the name, along with a charming flash animation introduction. Times, change, eh, Pablo? But a drawing is still a drawing, even digital. Viva ink, pen, and pixels.

Image source

Fun was had by all

All four of us at the last 4Cats Art Cafe, that is. 

We were the 4 Cats.

Which brings me to my next post.

But before that, I'd like to say how good it was to be sharing thoughts and observations and questions and ideas about Indian art together at my cozy home studio, after a morning of ridiculously huge snow puffs falling out of the sky followed by glorious sun on the lake. 

We discovered that, while none of us could claim much knowledge of Indian iconography, we shared a mutual delight in the quirky, sophisticated and playful visual language of the paintings. I for one look forward to learning more about this rich cultural realm not covered so much in college art history classes.

Two days till spring.

Caption Contest

Lest we get too serious about art...

















One of the things we enjoyed noticing at our 4Cats Art Cafe on Sunday was the playfulness and outright joy in so many Indian paintings. It's good to be reminded that, no matter how serious we are about our subject, art is above all, play.

So it is with no disrespect to Mr. Raj, painter of this beautifully painted picture, or to the Hindu gods depicted in it, that I propose a caption contest for the orange and green fellows at the lower left. 

If you have an idea what Vishnu might be thinking as he reclines on his giant white polyp, or what all of those many heads might be saying on the right, please send those in, too.

Next: Caption contest for a Medieval Christian panel.

Fun with art is an equal-opportunity event. Or ought to be.
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Image
Shesha-shayi Vishnu, Madhu-Kaitabha and Adishakti
Miniature Painting On Paper
Artist
Kailash Raj
10.5" X 7.5" 

Sunday, March 1, 2009

4Cats goes to India

Announcing the next 4Cats Art Cafe event:

Indian Art - Story and Perspective
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Sunday, March 15
11:00am-1:00pm
Contact me for location information
$15
RSVP

Coffee, tea, champagne, orange juice and pastries are provided. Additions to the menu are welcome.

Space at my studio is limited. Let me know asap if you would like a spot. Know someone who might like to join our art discussions? They are welcome, too.
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Topic:
Indian Art - Story and Perspective

One of the most elemental forms of expression is telling a story, an art to which every culture and period in history has contributed its own flavor and style. If we include painting as a kind of storytelling, the various viewpoints become delightfully visible. How does the art of India evoke the world differently than a conventional western perspective? What are some of the features of Indian painting and what comparisons can we make to work of other periods and locations in order to highlight the Indian visual viewpoint?
---------------------------------------------

Consider bringing:
Books, postcards, reproductions of Indian art, work of other artists to compare them with, or any related images - photographs, posters, fabric, postcards, and other inspirations - that you think just might add to our discussion.

(Tapestries, cartoons, cubism, Italian biblical frescoes, Japanese story-drawings and Egyptian murals, color field painting and graffiti are just a handful of the ideas that pop to mind).
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Images
"Ravana poses as an elderly hermit to trick Sita. When she does not leave with him willingly, he abducts her and carries her away in his chariot."

Below
Watercolor painting, “Jallandharnath and Princess Padmini Fly over King Padam’s Palace,” by Amardas Bhatti, 1830. Currently on display at the Seattle Asian Art Museum.

Thursday, February 26, 2009

"But it's only paint!"

Here's a little more about that 'scandalous' painting. Sargent's Madame Paul Gautreau (or Madame X) caused a furor in its day because of the dress and the way it was worn in the picture by Parisian "it" girl, Amelie Virginie Gautreau. 

In the original version shown in the Paris Salon in 1884, Sargent painted the right strap falling off her shoulder, lending the painting a sexually charged air that had Paris in an uproar. The sitter's family wanted to destroy the work but Sargent whisked it away as soon as the show closed, painted the strap back in place on the shoulder, and the painting hangs in the Metropolitan Museum today.

I find it interesting to compare compositionally what the altered line of the strap does to the painting. Whereas everything seems to flower open from the decollatage up to the lovely head in the original, in the final version there is a closing of the lines. The new angle of the right strap would seem to lead us to her head, but don't you think the lush expanse of bare chest in the original is far more effective at leading us toward her face? If anything is compromised here it is the purity of the line of Amelie's shoulder, not to mention the artist's original vision. Apparently Mme. Gautreau's relatives disagreed.

In the comments below, Sargent begins his painting. From a letter to his friend, Vernon Lee, as quoted in John Sargent, by Hon Evan Charteris, first published by Benjamin Blom, Inc. NY, in 1927:

"'In a few days I shall be back in Paris, tackling my other 'envoi,' the Portrait of a Great Beauty. Do you object to people who are '
fardeés'* to the extent of being uniform lavender or blotting-paper colour all over? If so you would not care for my sitter; but she has the most beautiful lines, and if the lavender or chlorate of potash-lozenge colour be pretty in itself I should be more than pleased.'"

* meaning 'disguised' 

Images
Above:
John Singer Sargent, Madame X (Madame Pierre Gautreau), 1884, oil on canvas, 234.95 x 109.86 cm, Manhattan: Metropolitan Museum of Art.

Below:
I am unable to find source or attribution information for this photograph, taken just before or during the Paris Salon in 1884.

Secret muse?

In class on Thursday, Joan Cox told me how she was admiring the stunning black Elie Saab gown Angelina Jolie wore to the Oscars when she had a flash of visual memory. 

That neckline! And that pose!

Sure enough, she found a sketch for John Singer Sargent's Mme. Paul Gautreau (also known as Madame X)...and there it was, minus the green teardrop earrings and Brad Pitt, but so close as to convince you that the designer must surely have had the famous dress in mind.

Here is Sargent's watercolor sketch - one of many studies he made for the oil portrait - in Joan's book, along with a picture she saw in the Seattle PI of Angelina in a pose so strikingly reminiscent of Sargent's final piece, it's as if Angelina was channeling the painting:






















Here is the photo of Angelina side by side with the Sargent oil painting: 

























Left
Angelina Jolie and Brad Pitt, Oscars 2009, CROP of photo from Getty Images

Right
John Singer Sargent, Madame X (Madame Pierre Gautreau), 1884, oil on canvas, 234.95 x 109.86 cm, Manhattan: Metropolitan Museum of Art.

Charcoal animation

The scene in Acrylic Painting class today as we worked on our charcoal still life drawings. 

















I propose the still life be renamed the full-of-life.

William Kentridge

South-African born artist William Kentridge is at the Henry Art Gallery . I've read a lot about him and I'm looking forward to seeing the show.

I'm posting this especially for my students who were recently introduced to charcoal as a medium! Here is one of his animated, charcoal-drawn videos, called Overpass.

Mr. Kentridge creates animation with his charcoal drawings. He is also a sculptor, set designer and director, with two theater pieces opening soon. 

One is a one-night performance, I Am Not Me, The Horse Is Not Mine, March 9 at Kane Hall at 7:30. The other show is at Pacific Operaworks, Seattle’s new chamber opera company, which will premiere Kentridge’s staging of the Monteverdi opera, The Return of Ulysses for the West Coast.
 
Here's a review of the Kentridge show at the Henry by Jen Graves.

You can also see Mr. Kentridge's prints at Greg Kucera Gallery through the end of February.

Van patchwork



Wednesday, February 25, 2009

Sunday, February 22, 2009

Denyse Schmidt
Drunk Love in a Log Cabin
Couture Quilt

Here is one of 
Denyse Schmidt's beautifully crafted, Gee's Bend-influenced quilts. It's interesting to compare what effect high craftsmanship has on design. Looking at her handmade "couture" line, are they more, or less, interesting than the Gee's Bend handmade quilts? just as interesting? more beautiful? more impressive? are they art? does it matter? are they something different, with a different intent?  Can we separate the kind (not necessarily 'level') of craft from the work? I think it's fascinating to consider the questions that arise from the issue of craft in relation to art. I don't have it all sorted out in my mind yet, but I'm enjoying musing. 

Thursday, February 19, 2009

Quilters at Greg Kucera Saturday

























Well as you can see I got quite excited about the book I've been reading on African-American quilters, and it has sent me back to my books on the Gee's Bend quilts. I hope you enjoy the quotes below as much as I do. There are so many more that speak to the organic creative process of artists open to the suggestion of accident and surprise, as well as to the characters of the quilters.

The history of the African-American approach to quilt design is deep, with sensibilities rooted in cultural traditions and art forms such as the pygmy bark-cloth paintings in the book Heather brought to share with us. The Africans who came to America as slaves brought their joy in breaking a pattern and embracing happenstance, along with the designs and geometries familiar to them, and these mingled with Euro-American quilt traditions and probably (according to Eli Leon) influenced significantly the quilts American women made - perhaps more so than their quilts influenced those of the slaves.

The visual flights in so many of the Gee's Bend quilts are easily the equal of the most sophisticated color-field painting, with a power that comes not from training but from simply knowing. The designs stand alone. Still, the artists' lives and histories infuse the quilts with something extra, a sure and fiery human grace that cannot be separated from their making.

Which brings me to a reminder: Some of the quilts and their makers will be together at Greg Kucera this weekend. Go if you have the chance. 

Artist talk: Saturday, February 21 at noon
with Lousiana Bendolph, Revil Mosely, and Loretta Bennett

Loretta Bennett
Crazy Quilt, 2003
Quilted fabric
84 x 79 inches
At Greg Kucera Gallery 

Tuesday, February 17, 2009

Whackin' on it

"If you're cutting out straight pieces, you just figure out how wide you want it an' how long you want it, you just go whackin' on it...you just cut it out."

- Gussie Wells, quilter
as quoted by Eli Leon























Loretta Pettway, born 1942
Medallion, ca. 1960
Synthetic knit and cotton sacking material
87 x 70 inches

Eyeing things

"I really don't like to sit down and do all that measurin'. It just takes the heart outa things."

"I just kinda eye things. Just see how I want it to go together and then put it together."

- Sherry Byrd, quilter
as quoted by Eli Leon

Measuring up

Sally Schintafer was at our Cafe on Sunday. Her words and photos are shared here with her permission.

"The making and discussion of art is a long-awaited experience for me. I didn't know I was waiting, but I was.
One of the death knells in my creative life is the question 'is it good enough?' 'Is it exactly right'? I'm growing away from that gradually and yesterday's discussion illuminated a little more the futility, the loss of trying to measure up.

And to reflect upon the ladies of Gee, their individual and collaborative process; their receptivity to spontaneity and innovation; how they just do it, no matter, and are guided, perhaps partly by genetic memory, to piece in this particular way. Thank you, Julia."

Monday, February 16, 2009

What mistakes?

' "Mistakes" may be acceptable, or not seen as mistakes at all but welcomed as an integral component of craftsmanship. Odessa Doby's daughter, Wanda Jones (Berkely, California), says that when she was learning to quilt and would make a mistake, her mother would say:

It's nothin about makin' it a little different. It's still the same pattern. You just added somethin' of your own to it.'

 - From Eli Leon's Who'd a Thought It: Improvisation in African -American Quiltmaking (San Francisco Craft & Folk Museum, 1987)























Mary Elizabeth Kennedy, 1911-1991
 "Housetop"-- "Logcabin" variation, ca. 1935
Cotton, rayon, 84 x 79 inches