ARTICLE: On Artists and Alcohol

the-absinthe-drinker-portrait-of-angel-fernandez-de-soto-1

Pablo Picasso “The Absinthe Drinker”

Raise a glass to this informative article.

Click on the Link: Drinking Scenes: The Relationship Between Artists and Alcohol, by Matthew Sperling

A key quote from the article, which amuses me on many levels:

“Toulouse-Lautrec’s pictures were described by Gustave Moreau as ‘painted entirely in absinthe’; he would stop at every bar in Montmartre in order to étouffer un perroquet (choke a parrot), in the slang of the period; and he had a specially made hollow walking-stick which held an emergency half-litre stash of absinthe and a tiny shot glass.”

At the Cafe La Mie

Choke a Parrot

Henri de Toulouse-Lautrec  “At the Cafe La Mie”

For me, drinking and art making don’t mix too well. These days, I might have a beer while painting at night, but it’s a rarity.

Party Painting

Multitasking: Painting at the Bar

I have been to some of the art parties that are currently popular, where wine and paint both flow. Wikipedia calls them “The Paint and Sip Industry:” group painting lessons where adult beverages are served. I’ve had wonderful experiences at events like this. It seems to be a great way to get newcomers to art lose their tentativeness and really enjoy the process, without worrying too much about the results. These inclusive, sociable painting parties really fit the Remodernist dynamic that art is for everyone.

It’s a lot of fun, but a very different vibe than the slip into the state of intuition I work up into in the studio.

Something I have learned is moderation in drinking is wonderful; however, moderation in art is a travesty.

“The artist should be intoxicated with the idea of the thing he wants to express.”

-Robert Henri

1899c Sidewalk Café oil on canvas 81.6 x 65.7 cm

Robert Henri “Sidewalk Cafe”

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STUDIO: The Image Morgue

Image Morgue 2

These fragments I have shored against my ruin: a sample of my reference material

 

“The model is not to be copied, but to be realized.”

-Robert Henri

In painting, there really are no rules. But understanding painting as I do, there is a prevalent practice these days which I find completely undermines the integrity of the act.

Projector artists. Artists who cheat themselves and their audience by projecting an image onto their canvas and doing a paint-by-numbers routine to create their works. Artists like this have reduced themselves to a mere cog in a mechanical reproduction process, not creating, but taking dictation from their gadgets. They let their tools make their discoveries for them. It is an inferior mode of creation.

If you’re an artist, do your own rendering.

Now I am not rejecting the use of source material. I learned the hard way, through years of artistic practice, I lack the omnipotent powers of observation and recall to paint strictly out of my own mind and produce the results I want.

How do a frog’s legs attach to its body? How many wings does a mosquito have? What is the musculature of a horse? These are just some of the composition problems I have encountered. I can’t see clearly enough into my memory to reach the level of realism I want in my paintings.

So I use source material. Not all the time, but when it’s important to get something right, and I can’t summon the depth of detail I’d like to. When needed, I find photographs on the internet of what I want to portray, print them out, and study them.

But then-and this is the really important part-I put the photograph down, and paint what I remember about it, what I learned about it.

The image passes through the filters of my consciousness and becomes more me. And that is vital in art: depicting your own unique sensibility.

I leave a scattering of paint spattered sheets of paper lying around the studio. But then, my wife Michele Bledsoe comes along and rescues them, and files them away in our office. Safely stored in a drawer, there’s a manila folder bulging with pictures. It’s my image morgue.

A morgue file is an old hard-boiled term, dating back to the days of gumshoes and ace reporters. It was a way they described the newspaper clippings they collected for quick reference. The idea still creates a powerful tie to the past.

Looking back through this folder today, I was amazed to see a history of my paintings unfolding before me. Seeing the crumbled pages brought back memories of the times I was actually utilizing them in my artistic struggles. It was like visiting with old friends.

Image Morgue 1

A small sampling that I can relate back to 6 different paintings