Energy…Magnetism…What??

What makes people want to spend millions to acquire particular paintings or stand in line for hours to see a museum exhibition of art?  We have likely read many different accounts on the subject from art historians, curators and critics.  But do they really answer the question?  Descriptions of paint applications, color combinations, subject matter, composition all come in to play.  When looking at a great work of art, all of those features are plainly visible.  Walking through a street fair featuring original contemporary art will likely also invoke descriptions of paint applications, etc.  One such street fair I attended recently had many very good paintings.  Why aren’t some of those artists in museums?  What sets certain ones off as different?  I doubt it has anything to do with cutting off one’s ear but that does add to the drama! One guess of mine is energy and magnetism.  There is a palatable energy that surrounds the works.  That statement may elicit metaphysical connotations but that is too simplistic!  The energy and magnetism certain paintings arouse defies the average explanation.  People are magnetically drawn to some art. Van Gogh’s paintings invoke that magnetic energy.  His sunflower paintings are well known world wide.  Much has been written and said about his life and his work.  Do those accounts actually explain why many of us will wait in line to catch a brief glimpse of the sunflowers paintings?  Does that explain why one sunflower painting went for multi-millions at auction in recent years?

Van Gogh's "Sunflowers"
Van Gogh’s “Sunflowers”

The Van Gogh museum website carries a wealth of information about his life and work: http://www.vangoghmuseum.nl/vgm/index.jsp?lang=en The Yellow House Museum contains information on Van Gogh’s life at Arles where the sunflower paintings were created: http://www.parisprovencevangogh.com/arles/the-yellow-house

The “Life” of a Painting

While shopping for a night stand recently, I visited several popular chain home decor stores.  In each store, I took the time to check out the art being sold to a mass shopping public.  Each store had some nice pieces that would look pleasant in any home or office.   When builders set up model homes to show to perspective buyers, the houses are always decorated with nice pictures.  Nobody lives in these nicely decorated model homes with the nice pictures.  Model homes lack the signs of actual people living in them.  Likewise, the pleasant paintings lack the life that tells you a living, breathing person was communicating through art.

One particular print in a popular store was of a row of birch trees. It was a nice picture.   It would look nice in any home.  However, I found myself comparing this print with the “life” in a Wolf Kahn painting of birch trees.  The first picture would nicely coordinate with a home’s decor and blend well with furniture and drapery.  A Wolf Kahn print would immediately draw attention and dominate the decor.  A Wolf Kahn would have magnetic energy.  A Wolf Kahn would have “life.”

Do we seek to create nice pictures to blend with pleasant decor or do we paint “life?”

Wolf Kahn talks about his work:

The Courage to Paint

“To create one’s world in any of the arts takes courage.”  Georgia O’Keeffe

Was O’Keeffe right?  Does art take courage?  Painting takes time, effort and energy.  But is courage behind the time, effort and energy?  Courage is perhaps the necessary force for getting art out of the studio and into the public domain.  Is it also the main force in the studio? Does it take courage to look at a blank white canvas and begin to create?  I think so.

A blank white canvas can be very frightening.  There may be an image floating around pushing to get onto that canvas but taking those first steps to get it there are sometimes slow in coming.  For many artists, the first step is actually placing the paint on the palette, deciding what colors will go into the painting and how they will be mixed.  For others, it is deciding which brushes to use.  Will you start with a round brush?  For me, it is deciding what ground color to lay on first.  The process of preparation may also be the process of gathering courage.

Gather courage. Proceed to paint!

A Place of Enchantment

“I do not understand how anyone can live without some small place of enchantment to turn to.”     Marjorie Kinnan Rawlings, author of Cross Creek and The Yearling

 

Do we, as artists, require a place of enchantment?  Can we create without a place of enchantment?  Do we have to physically be at that place or can we go there in heart and mind?

Rawlings was a moderately successful New York writer until she moved to a small Central Florida orange grove near a place called Cross Creek.  Eventually Rawlings wrote about the people of Cross Creek, FL.  Her writings about life in the Florida orange grove rocketed Rawlings to her place as a treasured American icon after the movie The Yearling, starring Gregory Peck, hit the big screen.  She drew her creative nourishment from the beauty of her place of enchantment.

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