Some nice paintings at the Huntington.

Here are some pictures from artist that were successful at the San Marino Art league show.

I am adding this unsold pieces because I think they are very nice within their styles. I apologize for not knowing every author. If you know who they belong to, let me know. 

Not my cup of tea but very well executed. Do you know who painted it?I guess I should check the artists' list and see if a name rings a bell.

Chuck Kovacic. "Expression of Spring"

John Budicin. Very interesting use of a dominant green.

John Budicin.

Michael Obermeyer. "Huntington Fountain"

Michael Obermeyer.

The Tao of Art.

I've been reading a bit lately on Wittgenstein, my favorite philosopher, and Taoism. Of all things.
How does this relate to painting....not sure. But it seems Western philosophy has a harder time
explaining art making than Eastern currents of thought. 

I was struck by some of the things in the Daodejing, the main text of Taoism. Especially in regards to emptiness and the goal of nothingness. I read it as "the space between things" or "leaving a lot of white  (in watercolors)." And working so hard at your art it becomes like breathing, second nature, doing "nothing."

Nothing to do with Taoism.

 There is this tale of the man who travels in a cart. He is deeply drunk so when his cart has a horrible accident, he is projected out .But his stupor is so deep and his unconsciousness so total that he doesn't break a bone due to the absolute flexibility of his relaxed body.  It seems the "way" of the sage would be to manifest such a flexible estate in everyday situations....and art making. Don't we create best when in a estate of unconsciousness, doing nothing?

Ah, but doing "nothing" is only possible through understanding our nature and the nature of things, without fighting them or striving. And the only way to achieve that involves such discipline as could only be mustered by few. Paradoxes abound in Taoism. What you do very well you require little effort to do, but doing it well is through intense work and a natural talent. 

Western art is full of effort, visible strain. Western philosophy involves a great deal of revision and criticism, a constant rewriting and reflection over the past. Its ideal is the progress through improvement  and revision of the previous states.  The facility of Titian, Velazquez or Rembrandt is the product of achieving excellence in very much the same way asian art does while at the same time aspiring to differ from the previous iterations and concepts of art.

Show targeting. Venue matters.

 Art Matters is an art show and fundraiser organized by the San Marino Art League at the Huntington Gardens . Last night I attended it and showed my artwork. It was the first time I was juried in . I wasn't sure what to expect so I was a bit surprised when I found out it was quite the swanky affair. Very good artists and art and lots of collectors.

 Which brings me to the point of this post. It is hard sometimes to gauge what kind of art to present to different shows. Shows have "personalities"so to speak.

Naturally you always want to sell whatever you hang in a show and be proud of what you present no matter what the venue is.  However,  when I don't have all the facts, it is hard for me to decide on subject matter, size, even framing and price.  For example,  I was surprised to discover during Telluride Plein Air that most paintings sold at that event  were not of the mountains or birches but of the actual town.

Art Matters. Cocktails.

Art Matters. Dinner at the Huntington gardens.

Art Matters. Gallery.

So now that I actually entered Art Matters! I have much better idea of what kind of art to enter next time. Below two examples of pieces perfectly suited for this show -and many others- that Michael Obermeyer piece is splendid.  This was a classy affair for a discerning moneyed public slanted to the conservative. It was a  knowledgeable crowd that likes images of recognizable subject matter. The gallery  itself was visually challenging with the lattice and the hanging by volunteers.  So you are better off with bigger sizes and simplicity of design. Detail can be lost  or crowded out.  What I would not recommend  is "paint for a show" but when you have several options, it really helps to know your venue.

Ok, so even if you don't sell anything the first time,  it is invaluable to attend and have fun -after all, you were juried in- and pay attention to what flies off the walls. Crossing my fingers for tomorrows open-to-the-public showing.

Art Matters. Michael Obermeyer piece. Now. That's a "little gem".

Debra Holaday expertly showing her pieces.

"Rembrandt, the painter at work". A review

Beautifully illustrated (and quite heavy)  book. Not a light read either. It is a rarity among art books in that it focuses primarily in the habits, techniques and studio inner workings of a famous artist instead of the usual historical or  symbolic context of the art.

  This book is exhaustively thorough in its research of studio practices, apprenticeships, preliminary works on tablet, supports, palette, binding materials and painterly technique of Dutch art in the Seventeenth Century in general and Rembrandt in particular without omitting possible influences and comparisons.

   The book seems mostly aimed at restoration experts even though the chemistry and scientific lingo is reduced to a minimum with some serious omissions like the chemical nature of Rembrandt's pigments for example which are mostly mentioned by their common name and period nomenclature but rarely reduced to their chemical origin.
  A working painter will surely find the chapters on binding, imprimatura and color palette very interesting as well as the evolution of Rembrandt's style from a tight style in stages to a "pittura macchiatta" influenced possibly by Titian or  a byproduct of the artists'  lengthy experience. I think the last 4 or 5 chapters should be required reading for anybody that is a Rembrandt admirer. I found that the information about  the size of a palette and how colors had to be mixed by assistants to tackle specific passages for the day  really enhanced my understanding of what amount of planning and expense was required back in the time. It also made me understand better the reduction to tone and brush mastery , the unity and volume of Rembrandt's technique as he became older and more parsimonious.

    The main "thesis" of the book in my opinion is debunking the merely  visual attempts made by many to elucidate the alchemy behind Rembrandt's mysterious technique.  Starting with painter  Josefz Israelis muddled interpretation of the master's beautiful palette and "houding" = (I understood this to mean a masterful unity in color and composition , what makes a painting come together form a distance).Israelis work just looks muddy, not particularly compelling in my opinion. The underlying quality of Rembrandt's art owes a lot more to a clear understanding of light distribution than Israelis was willing or able to aknowledge.

 Other students of Rembrandt's masterpieces include Reynolds (who attributed the lusciousness of Rembrandt's art to an abundant use of wax), a  Jacques Maroger who claimed to have come close to the mysterious binding medium ( a mix of mastic, wax,  lead, turpentine and other substances) and  Max Doerner's, whose  thesis regarding the use of glazing and resins seems to be misoriented. as proven by years of mismanaged restorations that failed to remove the color that should have been in the thin upper glazes.

"The Jewish Bride " 1667 (Rijksmuseum, Amsterdam) is one of the most analyzed paintings in the book.

  Through the use chromatography the author finds nothing but linseed oil, walnut oil and traces of egg emulsion !  in the artwork. . Moreover, through analysis of unfinished works, etchings and X-rays, the author also deduces that much of Rembrandt's work was a lot more direct than initially thought with sketching done directly in oils and local color applied fairly early on. In many ways, Rembrandt and his contemporaries owe a lot to Van Eyck, an earlier master whose breathtaking technique (like emulating textural qualities of  materials through relief in the paint and light capturing volume) and splendor were probably the direct antecedent to many in the Netherlands.

   I did appreciate this fabulous book despite the difficult reading and I'm sure new discoveries will come forward in time. I just wish there was a more abbreviated and lighter version and that more attention had been paid to link older and current pigments.

JOSE DE JUAN : CENTRAL AND OLYMPIC, LOS ANGELES.

Published this week by Eric Minh Swenson. of thuvanarts.com

A day in the Produce District. Los Angeles

 

This is  a no-words post. :)  Just check out the amazing video photographer and artist  Eric Minh Swenson did in the Produce District of Los Angeles while I was painting there. Music by generous friend and jazz master Kim Richmond.

E M S Video.

This are other works by  Eric: 

Thuvanarts

Friends and Quotes.

I met a few very good artists at a show in the Municipal  Art Gallery of Los Angeles. The show was "Saving Paradise. The Symbiosis Between Landscape Painting and Environmental Awareness." A mouthful. Organized by the California Art Club and curated by Jean Stern  of the Irvine Museum of Art.

I met again with one artist I admire. Junn Roca. Almost invariably I tell him how much  I admire not only his beautiful work but the fact that he transitioned form a job in animation (painting backgrounds fro Nickelodeon) to a career in fine art. With two kids in tow and a mortgage, Junn, who is also a Filipino immigrant, decided to pursue his dreams of being a full time artist. It wasn't easy. He almost faced foreclosure, not to mention the pressure o two college-bound kids. His wife Frannie wins the award for supportive spouse in my book.

Junn Roca in front of his "Tejon Ranch" piece.

Friends invariably tell me that at least I have good benefits through my job . It is true. I like my job also.

I don't think I have the nerve to do what Junn did. Even with no kids or a mortgage. (Because I have no kids or a mortgage?) . I told Junn I really wouldn't want my tombstone to read "He had good benefits" however. Then again the jury is out on whether I'll get to that tombstone earlier rather than later without the medical insurance. I might not afford the darn thing anyway.

I think artists have an arsenal of quotes they draw from when it comes to facing one's fears and doubts. Invariably , many of them  highlight the paradox of leading a safe life instead of  connecting with the groove of your heart.  I like the funny ones. "Many are ready to suffer for  their art but only a few are ready to learn how to draw."

For good conversation, plenty of fun, quotes and rebellion, my friend Molly Lipsher   is another staple. I always tell her that doing art "keeps her off the streets". She is feisty and incredibly talented with her pastels. I am so happy I get to see her from time to time. Here she is in front of a beautiful piece by David Gallup with the lovely and talented  Debra Holladay .

Molly Lipsher (in orange) and Debra Holladay with the luxuriant hair.

And here a picture of the boisterous Alexey Steele just for fun. 

Alexey Steele.  Startist extraordinaire.

  Talking about quotes, I recently read  The Art Spirit " by the wonderful Robert Henri. That book is nothing but printed encouragement and good advice. "Don't worry about your originality. You couldn't get rid of it even if you wanted to. It will stick to you and show up for better or worse in spite of all you or anyone else can do." Amen.