Thinking of Victor Juhasz drawings
The common man with honest eyes sees extraordinary things in the fleeting moment and responds with the rush of a pen and a whispering line to bear up startling figures and action brought abruptly into eager focus. "I can see it!", I think. And for a moment it feels like I was there with you, with your open book story and life tossed and turning on the page.
All it takes is one beer and I start writing like that. LOL
Project: Pershing Park WW 1 Memorial Relief Sculpture
Date: 2018-07-19
Ladies and Gentlemen -- The Fine Arts Community of the United States is sorely in need of some recognition in the FIGURATIVE TRADITION. We have a proposal before us by the exceptionally skilled Sabin Howard for a World War 1 Memorial Wall relief depicting the depths of experience in narrative format of a soldier during WW1. It is a very personal statement of military combat experience as well as a very public statement relating to the humanity of our fighting forces. Please, show your support for the arts and for our country and for the military men and women who give so much of themselves for the promise of peace and security for all.
Ha, Ha ! You caught me being generous to a guy I admire for his painting skills.
Let me preface this comment by saying that I don’t want to get into some tit-for-tat argument by graduate school drop-outs on the necessity for art to be either THIS WAY or THAT. I’m just going to put this thought out there.
I’m gonna guess that this first photo is a poor reproduction of the “four white dots” in the painting. The painting shows up better in the photo on the jssgallery.org website.
An attempt to make the “portrait a picture” by the addition of the globe behind and the Saint Martin and the Beggar above in the composition is evidence of his willingness to move objects and people around for the sake of a better arrangement.
Since the black robes were a necessary inclusion and as the figures are likely to approach life size there is the requirement of integrating large dark areas.
These men are teaching doctors whose careers made significant advances to the concept of modern medical practice. How better to portray this advance than to describe upright figures robed in black that find themselves anchored to the dark yet projected forward of it —the figures thus emerging from this dense atmosphere into light. Their occupations moved by warm currents stirred in the parquet floor, the forward projection of a desk, the draped code of academic regalia and the rising flow of that engulfing background. An enormous globe . . . humanity, if you will . . . pressing outward from the central figures rounding to them and forming a bridge to connect the one with the other, their arabesque of hands claiming shared knowledge in the texts laid about on the table.
Quotes from contemporaries who actually saw the painting:
"A marvellously fine composition... The dextrous way in which the artist has used the hoods, the books, and the globe to relieve the gloom of gowns and backgrounds is beyond praise."
-London Times
"Touches on absolute mastery within the limits of its aims. ...The masses of black are strong and elastic in structure, and each brush stroke is directly descriptive of surface character. The background is nobly handled, and the execution throughout of a power and insight that belie the rather photographic arrangement of the subject."
-The Athenaeum
It's a sad comment on the culture but we all spend an inordinate amount of time trying to figure out the solution to painter's problems that had been solved 150 years ago. Then comes a couple generations of "We don't need no steenkin badges" artists and it's almost all lost. The last 20-30 years have made some progress.
Why I never finished a Masters Degree 6/10/2018 8:02:38 PM
What follows comes on the heels of a discussion on painting with an art teacher. Sir !
If you describe Henry Moore, Giocometti and Calder as "Sight Size" sculptors then we do not refer to the same thing.
What I speak of is the work of sight-size observation and fine art painting as taught by the gentlemen you so uncharacteristically disparaged in your previous comments.
I have had the privilege of working on two life sized figure pieces in this method at my own expense. Your argument that this is a shape isolating method of painting neglects the essential search for observation of ALL formal aspects of the subject. Your argument hints that you have not worked extensively at this task and that you have come up short in your understanding of it's premise and benefits.
Once again, I say . . . popular though you may be . . . that you are mistaken in your short change comments about a method of working which some fine art painters have found to be exhilarating in it's promise to reveal something true, honest and dignified about our physical presence on this earth.
Do not believe that the students trained by another master will come to you carrying the whole pearl. They come to you perhaps having tried to pry open the jaws of this difficult problem but having failed. In short, you base your argument against the A+ student by referring to the evidence brought forth by D- students.
Modern life surges with a tide of image makers of every sort and at every turn. So few practice the art of fine painting and not so many more than that are interested in investing in the practice. We should not be reduced to a battle cry at every meeting with someone in this small community by the thought that they may increase their audience only by reducing ours.
You are a wonderful artist and an excellent teacher but you diminish your effectiveness by these thrusts.
By the way, I have a wonderful photograph of you with your little dog. It is one of my fondest memories from the Portrait Society Conference.
The visual experience of a painting happens between an audience and the canvas. Those few square feet of air are room enough for the imagination of mind to explore countless and subtle emotions, time and space. The photographic image is ubiquitous and the population believes them to be authentic. Even despite the advantages and disadvantages how can photography not be a valid reference for painters ?
I think people have now and will continue to have a hunger for things made by hand. Things that have been warmed in their creation by a human touch.
My response to a painter who wished to have her friends success:
"I think maybe better to simply admire the skill of our friends. Painting skills in the studio are hard won from long hours of work and deserve appreciation. 'Success' is a lucky stroke given haphazardly to one of any number of similarly talented painters. You can't wish for success. If you were lucky to be recognized for your work, the real trophy is the time you have been given to continue."
A podcast called "You Are Not So Smart" recently had some comments about this. In an experiment, two groups were tested on their memory of a trip through a museum. One group had cameras. The other group did not. On tests of their memory after the museum visit, the group that did NOT have cameras had more accurate memory of the experience. HOWEVER, the group WITH cameras did much better as days passed . . . as long as they had access to the photos afterward so they could revisit the images. That being said, it is my experience that if I have a camera, there is a strong pull to take photos. If I do not have a camera, I do drawings and sketches. If I do drawings, I remember everything better than just from simple observation or from revisiting photos taken at the time.
A few Thoughts from the Studio. 2/21/2018 3:50:38 PM
1.) Paint because you love to paint . . . because that is the instrument best suited to your hand. That's reason enough to continue. Sometimes a swimmer will find the current goes against his direction, and sometimes it goes with. The swimmer continues because the current is part of swimming. A climber will encounter loose gravel; a hiker will be out in the rain. geology and weather are part of the game. If you've found the instrument best suited to your hand --keep using it.
The Precarious Balance between Joy and Self Criticism. 11/18/2017 9:02:51 AM
We spend so much time with our work being self critical. This must be darker; that should be a little longer; the little shape goes off at the wrong angle; the whole thing needs more contrast . . . etc. It's how we make a painting better.
One of the best lessons I took from Hilary Holmes and Curt Hanson is to try to get back to that thing you loved so much about this scene that you wanted to paint it.
It's hard to do . . . You start with such hope and such delight at the possibilities . . . and then you want to like something that you've spent so many hours making and then to discover all its shortcomings. But it is important work never the less.
You have to learn to love your own efforts or you bear the weight of a double burden that will sink your fondest aspirations as a painter.
It's also why I think one of the most important characteristics of any young artist-painter is that they must love doing the work; just the physical activity of it. That will see you through until you find the joy of surprise at your own growth and efforts.
“Take care of your babies and your babies will take care of you”
October 8th 2017 began a series of wildfires surrounding our community. They turned out to be some of the most devastating fires in California history. We were awakened at 3 in the morning October 9th to discover that an Advisory Evacuation Order had been issued for our community. The following Thursday a Mandatory Evacuation Order was issued. We worried about our house and my studio from afar for nine days and then were allowed to return. Our home is safe to great relief all around. I made contact with and paintings for some of the people who were a great help during this time. The four pictured here are
The Police Chief of Santa Rosa
The Fire Chief of Santa Rosa
The Sherriff of Sonoma County and
The Chief Engineer of Cal Fire
-- Thanks for keeping us safe.
I’ll be participating in the upcoming MarinScapes Art Show and Sale. MarinScapes benefits Buckelew Programs, including the Family Service Agency of Marin and the Helen Vine Recovery Center.
This event takes place from Thursday of this week to Sunday. You can see the entire schedule below on an attached TWO for ONE Admission Card. This event is at the historic Escalle Winery at 771 Magnolia Avenue in Larkspur. You can get full details at buckelew.org.
If you don’t recognize my name, you might remember me as the guy who spent Board meetings sketching the other Board Members, or as the photographer of the famous Mountain Play Costume Contest or as Assistant to the Master of the Stadium Seat Booth. I very proudly take credit for coming up with the slogan, “Theater with Altitude!” My wife, Anne, and I moved to Santa Rosa almost four years ago, but we still have deep roots in Marin County. My painting of the Point Bonita Lighthouse was on the cover of the May issue of Marin Magazine and of course we went to see Beauty and the Beast on the Mountain. It was absolutely wonderful and it was great to see how the tradition has continued to grow and evolve.
If you have time, I’d love to see you at MarinScapes. I plan to be there throughout the show. You’ll probably find me sketching.
Best always,
John Deckert
I like to draw with a large sketchbook. Wears out that hand, it does. So here is what I devised to help an old man's wrist.
Daniel Jewett, Editor of Marin Magazine
I am quite honored that my painting of the Point Bonita Lighthouse was selected for the cover of the May issue of Marin Magazine. They included a very nice article and photo and even an image of a recent self-portrait. It's a beautiful magazine that celebrates a beautiful place and I'm thrilled to be a part of it.
John Deckert OK, So you want a life-sized portrait of four men in black robes . . .
and yet here it is, a brilliant composition
Rob Howard Point out the brilliant compositional points and also, what the purpose of this composition was to convey.
John Deckert These men are teaching doctors whose careers made significant advances to modern medical practice. How better to portray this advance than to describe upright figures robed in black that find themselves anchored to the dark yet projected forward of it —the figures thus emerging from this dense atmosphere into light. Their occupations moved by warm currents stirred in the parquet floor, the forward projection of a desk, the draped code of academic regalia and the rising flow of that engulfing background. An enormous globe . . . humanity, if you will . . . pressing outward from the central figures rounding to them and forming a bridge to connect the one with the other, their arabesque of hands claiming shared knowledge in the texts laid about on the table. And that polite reminder to keep the personal touch in your business with the image of St. Martin and the Beggar.
You might say "They are IN that Darkness, but they are not OF that darkness." (You can give us the Latin for that.)
You know . . . that kind of stuff . . .
Rob Howard What you describe is a written history. Do you understand what pictorial composition is, and it's purposes and uses in making pictures? Do you think of painting as a form of communication or merely a demonstration of techniques and skills learned in school and repeated endlessly?
If you are confused about the difference between technique and content (and intent), I call your attention to an interview given to Truman Capote (a man of considerable literary worth) when asked to comment on the writing style of Jaquelin Sussan, the author of 'Valley Of The Dolls'..."That's not writing,' quipped Capote, "that's typing."
In the case of most people looking at art, they don't know the difference between true greatness and most of it which is just typing," demonstrations of hand skills.
Sargent was outstanding until his mid-30's. At 25, he was the enfant terrible of the day...at least in France. He had astonishing skills at observing the variation in Values and translating them into paint. He came along during an era of great bravura painters like Stevens and Boldini, and his bravura style was part of that trend. Durand-Ruel was a fortunate choice of teacher and he lived during an era of elevated skills.
He was not the most creative guy in the world although, when he was in his twenties, he show a strong compositional ability and, as always, complete control over his Values. Fortunately for me, being schooled at the old Boston Museum School, when it was inextricably connected with the museum, we were granted space and access to copy anything in the museum (that would interfere with today's suburban cultures on their way to the restaurant and gift shop. This was the old Boston and there was an active art community.
I copied lots of Velasquez and Rembrandt paintings and found I had a real knack for it. For me, it was like channeling those masters. Among the artists from who I learned was the young John Sargent (as he was known during his lifetime and before being gussied up with a middle name and the fiction of being an American artist...he was born in Italy and schooled there and in France...initially the Brits thought he was much too French).
For me, those years of copying did a great deal of freeing up and answering questions.
And here's my interpretation of that conversation:
a life-sized portrait of men in black robes
a brilliant composition
Rob Howard
show purpose of this composition
Point of PURPOSE:
Point out compositional points
Points of COMPOSITION:
1. upright figures robed in black
a. anchored to the dark yet projected forward of it
b. figures emerging from this dense atmosphere into light.
a. stirred in the parquet floor,
b. forward projection of a desk,
c. draped code of academic regalia
d. rising flow of that engulfing background.
a. rounding to them
b. forms a bridge
c. connects the one with the other
LOOK AT FORTUNATE ME:
I quote Truman Capote
schooled at the old Boston Museum School
connected with the museum
granted access to copy
an active art community.
knack for copies of Velasquez and Rembrandt
channeling those masters
I learned from the young John Sargent
years of copying = freeing up and answering questions.
LETS TALK ABOUT SOMETHING ELSE:
Is painting a form of communication ?
a demonstration of techniques and skills?
Do you learn in school and repeat endlessly?
EVERY ONE ELSE is ill informed:
you didn’t answer my question, you describe a written history
Do you understand pictorial composition?
Do you understand it's purposes and uses?
Schools teach techniques and skills that repeat endlessly
confused about technique and content (and intent),
people don't know difference between greatness and skills.
suburbanites just interested in the restaurant and gift shop
Popular culture gussied up Sargent with a middle name
Desperate Americans created a fiction of Sargent as an American artist
the Brits thought he was too French
LET ME TALK WRITTEN HISTORY INSTEAD:
Sargent outstanding until his mid-30's.
enfant terrible in France.
skilled at translating into paint.
style part of era of great bravura painters
Durand-Ruel = fortunate choice in era of elevated skills.
Sargent was not creative guy
had compositional ability and control over his Values
he was born in Italy and schooled there and in France
I love this early stage of a painting.
Nothing but flow.
______________________________________________
Here's something I wrote while looking at the picture
of a scene captured by the photographer and writer
Jim Lindsey who lives on the Atlantic Coast-
______________________________________________
A conversation with my watch:
Water "Come enjoy our cool shimmering dance."
Stone "We are broken, rough and uneven but hold fast."
Moss "Cling to strength but learn to breathe in water."
Dirt "Accumulate in any opening. The accidental seed will arrive in time."
Tree "I take my chances, one by one. See in the distance? We are myriad"
Cloud "Be soft. Take light. Imagine yourself to be anything."
Me "I am here but I must go."
______________________________________________
And elsewhere --
Here is my advice to a Sabin Howard, a sculptor
struggling with a committee.
You must convince them of this:
1.) the importance of this scale as it relates to your human audience.
2.) the importance of a dramatic narrative to give context to our shared history.
3.) the powerful emotional forces expressed in the visual poetry of the narrative.